In a message dated 5/02/1999 8:55:49 PM, Brian wrote: <<"I try to make the coils not only straight and tight,....................... and I also try to get the same amount of coil around each tuning pin,">> Brian; Some of what follows is heresey so lets just say it is my "opinion", OK? The primary results in stable stringing 'probably' come from the above three factors. Since a tight becket is required to meet the criteria of a "tight coil" tight beckets are assumed, as are firm pins, for discussion purposes. 'An' indicator of a not "best", but not needfully "bad", restringing is where all of the tuning pins are of the exact same height above the plate. Where this condition prevails the coils will, of necessity, be at various heights above the plate starting in the top treble, where they will be the highest, and continuing to the bass section, where they will be the lowest. Coils/pins in this condition do not lend themselves to the most consistent, i.e.,smoothest, tuning end to end. widths of coils with three tight turns around pin: (aprox) size 13- .08 or 2.5cm size 18- .102 or 3.2cm 1st Bass .135 or 4cm Rather than concentrating on "tuning pin" height one would be better served concentrating on "coil height" above the plate. Perhaps this is what you meant when you said "appropiate level". Now this "coil height" decision involves several factors such as bearing bar heights between pin and capo bar. 1. On some pianos, a notable example being S&S, the bearing bar height differs from one end of the individual bar to the next and strictly following either 'pin height' or 'coil height' will result in uneven down pressure throughout the section in question. 2. The string length from bar to pin also factors into this equation as short lengths change down pressure rapidly with coil level changes as compared to long lengths, which change less rapidly with the same amount of change. Still using S&S as an example 'perhaps' the better stringing, based on pin height and keeping in mind the varying bearing bar levels, would be stepped (from the side (front to back), and not level. Similarily the coil height would of necessity be stepped also if each and every pin had exactly the same amount of coil..................also, with the same conditions, the pins would be stepped from side to side when viewed from the front or back. This being the case, if the pins were kept level, the only way that the coil height, above the plate could remain constant is if the coil width itself were adjusted to fit each note of a unison, i.e. some pins might have 3 turns, some 3.5 and some 4. Now if the coil height 'does not' stay relatively constant throughout the scale the tuning will not be as even as it 'could' be due to differring flagpoling effects of the pins at different heights and if the pin height 'does' stay the same throughout the scale, the same conditions hold true. Next comes the question of turns around the pin.....What is three turns? Is it where the third coil level starts at exactly the becket and the three o'clock position? Or is it just before? Or just after?.............. Is a trichord note where the beckets are lined up at the 3 o'clock position with exactly the same amount of turns on each pin inherently more stable than one where the pins have 3-1'4 and 3-1/2 and 3-3/4 turns? Neater? Yes, but more stable? So far we have seemingly discovered that we can't have all four factors, i.e.; even pin height, even coil level above the plate, even number of coils, and even down bearing at the same time. Plane Geometry/Physics dictates this so. You might say..."Well then what 'do' we do?" The answer is "the very best we can". This might not involve the same thing for every piano/scale and various solutions will yield various looking results. We should strive for as consistent looking, and working, restringing as we can possibly get while bearing in mind that we can't get absolutely consistent in all four areas at the same time. Just 'looking' at a stringing job and judging it on the appearance 'might' possibly not tell you the whole story of the quality of the work done anymore than looking at a beautifuly finished case tells you what kind of piano lies within. In my opinion the most important of the four factors (pin height, number of turns, coil level, down bearing) is the latter........downbearing first, then come coil level above plate, number of turns in coil, and last, pinlevel, (becket orientation doesn't figure into this)........ in that order. As each effects the others if each step is handled in the same manner the overall results will be consistent even if the note to note, or pin to pin, or becket to becket, results aren't. Like I said that's just my opinion :-) Jim Bryant (FL)
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