This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment He means that in the 2nd case the overtones start developing on loud = playing, while in the 3rd case they are being produced in abundance even = at normal playing and cause distortions at loud playing. I don't know if = louder playing changes the inharmonicity of a string in any way, and = Fenner doesn't say anything about this. My guess: it's just the fact = that you hear more partials with loud playing. I have never tried analysing the harmonic spectrum of a piano's note and = comparing it to other brands in terms of inharmonicity and volume of the = different partials - if anybody here did, please share your findings = with us. I assume that much of the tonal character of an instrument is = given by the amplitudes of the different partials in relation to = eachother and to the fundamental. I wonder if the reason I like the Bechstein sound so much is connected = to inharmonicity or to the mix of partials or maybe both. What I can say = for myself (about old Bechsteins though) is that they tend to have a = very rich and brilliant sound even at moderate volume levels.=20 Calin Tantareanu ---------------------------------------------------- http://calintantareanu.tripod.com ---------------------------------------------------- ----- Original Message -----=20 From: Cy Shuster=20 To: Pianotech=20 Sent: Wednesday, January 14, 2004 9:29 PM Subject: Re: Piano stringing scales Why is it that louder playing results in "overtones higher than = acceptable" in one case, but "gives colour" in another case? =20 What's the mechanism here? Does he imply that louder notes have more = inharmonicity, or is it just that you can't hear as many partials on = softer notes? --Cy Shuster-- Rochester, MN ----- Original Message -----=20 From: Calin Tantareanu=20 To: pianotech@ptg.org=20 Sent: Wednesday, January 14, 2004 12:36 PM Subject: Re: Piano stringing scales 2. Scales with inharmonicity values higher then average or close to = the upper "limit" With increasing dynamics the adding up of overtones gives the sound = colour, without getting unpleasant. Examples: Grotrian-Steinweg, Yamaha, Steinway 3. Inharmonicity is at the "limit" or above At normal playing volume, the tonal character makes an outstanding = impression. But with increasing dynamics, the stretching of the = overtones gets higher than acceptable to the ear and becomes distorted. = This happens especially when the string termination isn't perfect. = Because one needs to voice the piano mellow to avoid distortion, = powerful fortissimos aren't possible. Examples: Fenner states that such a scale can be found, nowadays, = only in Bechstein pianos. ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/01/35/cd/1f/attachment.htm ---------------------- multipart/alternative attachment--
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