Standard Pitch 1870 to Present

[Delwin D Fandrich]

----- Original Message -----
From: "Farrell" <mfarrel2@tampabay.rr.com>
To: <pianotech@ptg.org>
Sent: September 18, 2001 5:10 AM
Subject: Standard Pitch 1870 to Present



>
> 1) Any sweat tuning a piano designed for 435 to 440 beyond the string
> breakage potential? Basically, why not? I am asking about any piano - new
or
> old - but especially an old one, such as the Everett.

Whether you raise a sweat or not while doing this depends a lot on your
personal physiology and on how hot and humid it is down there. It's in the
mid-60s and not terribly humid up (and out) here so, no, we wouldn't sweat
much at all doing this.

Raising pitch from 435 to 440 represents something less than a 2.5% increase
in overall tension--I'm sure Ron will give you the exact amount. With
probably 99.9% of the old pianos out there this will not be a problem. It's
up to you to determine if the piano facing you is one of the 99.9% or part
of the 0.01%. With a piano like an Everett which, (at least in the
beginning) had a reputation for exceptionally solid construction, I'd not
worry.


>
> 2) ....Or is
> there something about the design of the piano that might dictate its
optimal
> pitch?

Not that I'm aware of. I've encountered several makes and models of pianos
over the years that, depending on when they were built, were labeled both
A=435 and A=440. You pays your money and takes your pick. Or, in the
immortal words of one of our more infamous philosophers, "...just screw it,
and tune 'em where you want them to be?"


>
> 3) I would like to try the new stainless steel Absolute Sound wire. They
> make two strengths - regular strength for "older pianos" and high strength
> for "modern pianos".

Personally I'd be a bit cautious using stainless steel wire in a piano. It
might work quite well in some cases but I suspect its tensile strength is
some low and it tends to gall when rubbing against another metal surface
with much force. I guess I'd want to try a few samples under test conditions
for a while first.


>
> So I have a square I am restringing. I also have a 1900
> Bechstein that I will be restringing. Is my Bechstein an older piano? Yes.
> Is it modern? Looks modern also to me. (I have talked to Absolute Sound
> folks, and I get the feeling their recommendations are just "shooting from
> the hip".) Should the selection of the string type depend on a stringing
> scale analysis (by a knowledgeable analyst - not me)?

Yes, the selection of the string type should depend on a stringing scale
analysis with the needs of the scale being then compared with the known
characteristics of the wire.

I have very little information on the scaling characteristics of squares.
Nor do I want to accumulate any. Check with Joe Garrett. On the Bechstein,
however, you might encounter a quite high-tension scale.


>
> Are we getting into
> "low tension scales" and "high tension scales" with this? Are these two
> general classifications where these two types of strings would be used?
What
> is a "low" and "high" tensions scale? A low scale on the same piano would
> have lower tension and less mass for any given string? In general, why
would
> a designer choose a low or high tension scale?

Sorry, this takes up quite a lot of a 3 hr class on string scaling. But,
yes, you're getting into 'low-tension' vs 'high-tension' scales here. Come
to Texas in October.


>
> Am I asking too many questions? I suspect someone will simply provide me
> with a reference. That would be OK. But I suspect some of the above
> questions will not be answered in a book. Hoping for both I guess. Thanks
to
> anyone.

Sadly there are no references that go into this. At least none that I'm
aware of. I do go into it quite a bit in the class I'm currently doing--come
to Texas next month--but other than that I don't know of anywhere else to
send you.

Del