1910, 6'4" Knabe for sale, cheap

[gordon stelter]

An antique dealer called me about this piano, left
over from an estate sale. Probably quite inexpensive.
e-mail if interested.
     Thump

--- gordon stelter <lclgcnp@yahoo.com> wrote:
> Yes, and the further up the harmonic sequence we go,
> the further from the theoretical termination points
> for string vibration do the vibrating segments
> shrink,
> due to wire stiffness, causing the upper harmonics
> to
> swerve radically askew from the ideal, creating
> harshness. Which is why so many small pianos sound
> so
> yucky: heavy gauge wires pulled to higher tensions,
> in
> an effort to excite an inadequately sized soundboard
> =
> excessive stiffness = wildly askew harmonics.
>      Combine that with hard hammers ( which favor
> the
> upper partials ) and you get the utterly delightful
> "BanjoTone" of which I am so very, very fond.
>      Thump
> 
> --- Overs Pianos <sec@overspianos.com.au> wrote:
> > Joe, Richard et al,
> > 
> > At 7:47 PM +0100 5/3/04, Richard Brekne wrote:
> > 
> > >Actually... unless I am mistaken again.. tension
> > works in to this 
> > >only indirectly, in as much as it is the
> stiffness
> > factor we are 
> > >after here. More tension yeilds higher stiffness
> > all other things 
> > >being equal.
> > 
> > As Joe rightly claimed, tension affects
> > inharmonicity in a very 
> > direct way. After all, it is the stiffness of the
> > wire which causes 
> > inharmonicity in the first instance. If you think
> of
> > a speaking 
> > length string segment at the moment during the
> cycle
> > when it is 
> > farthest from its resting position (ie. at 90 and
> > 270 degrees), if 
> > the string did not have some quantifiable
> stiffness,
> > the speaking 
> > length would flex right up to the string length
> > termination. But this 
> > doesn't happen in a real-world piano. Due to the
> > wire's stiffness, 
> > there is some reluctance on the part of the wire
> to
> > deflect right to 
> > the end terminations. Consider the situation
> further
> > as it exists at 
> > the termination. On the speaking length side of
> the
> > termination the 
> > speaking length is trying to pull the 'reluctant
> > string zone' 
> > (adjacent to the termination) along with its own
> > excursions from 
> > rest, while the duplex or counter-bearing segment
> > (on the other side 
> > of the termination) is trying to hold the
> 'reluctant
> > string zone' 
> > steady. Both will have influence so there is
> certain
> > to be some loss 
> > of string activity at the speaking length zone
> near
> > the termination. 
> > The stiffer the wire the greater the effect, the
> > higher the tension 
> > the less the effect. The higher tension will force
> > more of the 
> > 'reluctant string zone', adjacent to the
> > terminations, to be active.
> > 
> > So while a higher string tension increases the
> > string's ability to 
> > resist the blow of the hammer, it also forces a
> > higher percentage of 
> > the speaking length segment to be active, lowering
> > inharmonicity.
> > 
> > Ron O.
> > -- 
> > OVERS PIANOS - SYDNEY
> >     Grand Piano Manufacturers
> > _______________________
> > 
> > Web http://overspianos.com.au
> > mailto:info@overspianos.com.au
> > _______________________
> 
> 
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