Piano stringing scales

[Calin Tantareanu]

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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
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 http://calintantareanu.tripod.com
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  ----- 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.


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