Paul et al, I'm not sure where I heard it, but I thought a twist in a plain-wire string would bring about ("false") beating. As you point out it shortens the length of what is being twisted (one, maybe two string(s) of a three-string "unison") resulting in a need for higher tension in one, maybe two string(s) of a three-string "unison". What does that do to the "unison?" I put "unison" in quotes, 'cuz I'm wondering if they all make "one sound," i.e. "uni-son". While it may not result in beating, I would expect that the twisted string(s) would produce a different sound than untwisted neighbor string(s). This is a question... not a lecture! Is my thinking on the right track?? Thanks, Paul Bruesch Stillwater, MN On 8/4/07, PAULREVENKOJONES <paulrevenkojones at aol.com> wrote: > > > > Terry and James: > > Thanks much for the response. I still have some questions. > > In a message dated 08/04/07 09:20:38 Central Daylight Time, > mfarrel2 at tampabay.rr.com writes: > > Dear Terry, > > Thanks for the e-mail. Let me put in my two cents. > First , let me say that false beating is our enemy. > You probably would not put a twist in plain wire. Right? > > Probably not, but twisting doesn't cause false beats, it merely shortens > the length of what is being twisted and requires higher tension for any > desired frequency. > > However there is a reason you should put a twist in most bass strings. > Here is my simple explanation of why. > The old fashion, tried and true traditional synchronized lathe winding > technique yields one minor anomaly. > After the string is made it will unwind or backlash a little when removed > from the machine. This is due to the torsional forces imparted during the > winding process. > The reason string winders have traditionally recommended to put a twist in > the wire on installation is simply to off set this built-in backlash. It > should take less twists (maybe only 1/2) in the big wires and more twists > (maybe 1 1/2) in the small ones. The exact amount will be known by your > string maker. > > Well, my approach was to build a new type of string winding machine that > among other things calculate this backlash and turn one side of the lathe at > a slightly different rate as to offset the backlash. The length and > diameters being variables. The proof that the derived formula works is > that when the string comes off my machine there is no backlash. So why > twist? > > So, if one end is turning slightly slower, there is a built-up twist in > the core when the string is done? And after being released from the lathe, > that twist is now being held by the crimped ends of the winding at the > swage? So the core wire is internally torqued (torsioned) and on > installation without a twist will act like a string that has had a twist put > on it when being strung? So in essence, the swage is being made to act as a > torsion clamp for the twisted core? Is this a fair restatement of what > you're describing? > > During stringing, when turning the core wire onto a tuning pin, generally > the core is being twisted in the opposite direction of the winding (check > this out by installing a bass string, then while still slack remove it from > the hitch pin--it will "untwist" slightly, maybe a half-turn, in the > direction of the winding). This would argue for me that under any > circumstances a twist in the direction of the winding at the hitch pin on > installation is advisable to offset the untwist and compensate for lack of > internal torsion in the core to clamp the winding at the swages. > > Am I totally off-base here? > > Paul > -------------- next part -------------- An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/20070804/18db0f1f/attachment.html
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