Steinway B Scale Conversion

[David Love]

Just in case I wasn't clear, the idea of integrating these three elements
(scale, soundboard and hammer) is something, the importance of which, Del
Fandrich really has impressed upon me and I've heard it successfully put
into practice many times over the past several years.  While there are
clearly choices to be made about what level appeals to us, the idea of
integrating the three elements is, in my experience, critical.  

 

David Love
davidlovepianos at comcast.net
www.davidlovepianos.com 

-----Original Message-----
From: pianotech-bounces at ptg.org [mailto:pianotech-bounces at ptg.org] On Behalf
Of David Love
Sent: Tuesday, April 03, 2007 4:55 PM
To: 'Pianotech List'
Subject: RE: RE: Re: Steinway B Scale Conversion

 

While it does end up being about what we are hearing, there are some
theoretical issues that are worth addressing.  In the case of wholesale
changes to the overall scale on a Steinway (as you suggest), I would be
concerned that the increase in tensions could be problematic.  Not only
might it increase the total load putting quite a bit of additional stress on
the plate, a significant increase in overall string tension on the original
board would tend to dis-integrate the match between string scale, soundboard
design and hammer density/mass/resilience.  Not a new idea, as is nicely
illustrated in the recent book edited by Del Fandrich "Tone Building", but
one that seems to have been lost.  Recent trends by some scalers to increase
tension in order to boost power illustrates this nicely (if you've heard
one).  Increases in overall tension on the existing soundboard (which itself
has likely lost some of it's own spring tension) can create an imbalance
that, while might be compensated for by reduced bearing and reduced hammer
mass and/or density, would probably create other tonal problems.  Changing
scales to smooth out irregularities is one thing.  Wholesale changes in
tension, in my view, need to be accompanied by matching changes in
soundboard design and hammer selection and the resulting piano will be quite
different from the original not matter what you do.  While there is clearly
some tolerance this way or that way, there does seem to be the need to keep
things reasonably integrated: high tension, stiffer assembly, denser hammer;
or low tension, lighter assembly, softer hammer.  A random shuffling of the
deck seems to be asking for trouble.  

 

David Love
davidlovepianos at comcast.net
www.davidlovepianos.com 

 

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