Hammers and scale

[David Love]

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That makes sense.  But let's take our favorite whipping boy, the =
Steinway M.  As you know, when recalculating the scale, one tends to =
come up with a needed increase in gauges above note 50, pushing the =
tension up a bit all the way to the top (changes across the bass tenor =
break are another issue which I don't want to get into at this point).  =
If the Steinway board tends to be a lighter more flexible one, would you =
then be cautious about increasing the tension up there for fear of =
overloading a board that is not capable of dealing with that type of =
change?

David Love
  ----- Original Message -----=20
  From: Delwin D Fandrich=20
  To: Pianotech=20
  Sent: September 20, 2002 10:09 AM
  Subject: Re: Hammers and scale



    ----- Original Message -----=20
    From: David Love=20
    To: Pianotech=20
    Sent: September 19, 2002 5:43 PM
    Subject: Hammers and scale


    I'd be interested in hearing more on the relationship between =
hammers and scale design.  It seems that the trend in rescaling is often =
to add tension to the upper regions of the piano, especially Steinways.  =
Is the older lower tension scale related to the original size and weight =
of the hammer?  Does a higher tension scale call for a larger or harder =
hammer necessarily?

    David Love

  In general a lower tension scale can, and should, use a somewhat more =
resilient and less massive hammer than one having a higher tension =
scale. Of course, there should also be some changes in the soundboard. =
The lower tension scaling will want a lighter, more flexible soundboard =
as well. It's one of the nice things about the smaller Steinway scales.=20

  The theory is that a higher-tension string is potentially capable of =
storing more energy. There are, however, a number of trade-offs.=20

  The heavier hammer creates more flex and compression in the action =
components so the action reaches saturation sooner and its potential =
velocity is lower.=20

  Higher tension scales call for a moderately stiffer and more massive =
soundboard and a slightly harder and more massive hammer. Emphasis on =
the two words, moderately and  slightly! It's still a matter of =
balancing a well-designed scale with a well-designed soundboard and then =
selecting a hammer of reasonable mass and high resilience to work with =
them.

  There is also a difference between a long, thin string and a short, =
thick string even though tension may be the same. The short, thick =
string is inherently stiffer and will store more higher harmonic energy, =
less lower harmonic and fundamental energy. And, of course, don't forget =
the influence of the backscale.

  Del


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