voicing - was Convention musings

[Joe & Penny Goss]

Del,
 The bass and other strings that have the hammers angled to the string will
have a different strike point measurement from the termination points of
bridge and agraff/capo bar. This causes to my ear the distortion of the
sound of the unison much like phasing of unlevel strings. As a double bass
player, I long ago discovered that one could divide the string into 1/2 
1/3  1/4  segments and play the overtone series ,  but also divide the
string into smaller segments and draw out a diatonic scale of the upper
partials of the string. Moving the finger lightly along the string only a
small fraction of an inch will make the change occur.
With the string line angled one way and the hammers the other will MHO
cause what I believe Roger is referring to especially on bass strings that
are already too short to produce a good sound.
Joe Goss
----------
> From: Delwin D Fandrich <pianobuilders@olynet.com>
> To: pianotech@ptg.org
> Subject: Re: voicing - was Convention musings
> Date: Wednesday, July 28, 1999 9:18 AM
> 
> 
> ----- Original Message -----
> From: Roger Jolly <baldyam@sk.sympatico.ca>
> To: <pianotech@ptg.org>
> Sent: Tuesday, July 27, 1999 11:47 PM
> Subject: Re: voicing - was Convention musings
> 
> 
> ... and phasing due to hammer angles being
> > critical, this area will always  have a certain amount of unevenness
> within
> > the assembly process.
> 
> This notion about the phasing due to hammer angles being critical has
come
> up before.  The more I think about it, the more I question it.  I've
> certainly not found it to be a major factor piano tone -- at least not
with
> string lengths typical of bass/tenor crossovers.  These strings are so
long
> that any variation in tone due to the hammer strike point not being in
> exactly the same spot on each string is essentially inaudible.
> 
> The uneven tone problems through this area are the result of
inappropriate
> string scaling coupled with deficiencies in the soundboard and rib
design.
> These issues can be effectively dealt with at the design level -- and
> sometimes at the redesign level, as well -- if the manufacturer (or
> rebuilder) has the incentive to do so.  Sadly, few seem to feel an
> imperative to do so.
> 
> 
> > Board design will not completely correct these variables only minimize
> them.
> 
> If you insist.  However, these variables can be controlled by proper
design
> to such an extent that any audible variations across the bass/tenor break
> can minimized to such an extent that they are detectable only by the most
> critical trained ear.  And then only by going across the break area note
by
> note and carefully listening for the very subtle variations in tone. 
Even
> then, they will make mistakes and guess wrong from time to time.  (Yes, I
> have fooled some very good piano technicians on this)  Scale breaks --
> whether they be between wire types or bridges -- can and should be
musically
> transparent.
> 
> 
> > Since string winding tension etc has a large effect on the harmonic
> content
> > and power, please educate me on how you integrate the bass string
> > scaling/design with the Z of the board.
> 
> No, I can't.  Been there, done that.  There wasn't much interest in the
> subject.  It isn't that simple.  There is a lot of background information
> that has to be understood first and that is usually where we loose folks.
> Besides, nowadays I prefer getting paid for my design efforts.
> 
> 
> > A direct formula will suffice.
> 
> Sadly, at this point it is as much an art form as it is a matter of
> formulas.  I've no question that if probed at long enough (by folks much
> smarter than I) much more of this stuff will be reduced to formulas.  Not
> yet, however.
> 
> Regards,
> 
> Del
>