[pianotech] GH-1s

[David Love]

I don't know if I can answer all these questions but one of the primary
goals is a smooth transition through all the breaks.  The choice of bichord
or trichord will depend on various factors with certain goals in mind but
one of them is to make sure that the transition from plain wire to wrapped
is as seamless as possible.  Those factors include: volume, inharmonicity
(to some degree--the sections need to be tunable with each other), break
point percentage is a consideration, as is tension.  There are others as
well but those are probably the primary factors.  Some of these will
contribute more than others in terms of the overall character of the tone.  

The speaking lengths of the adjacent sections along with the general tension
level of the unisons of the instrument will be a big determinant in whether
to use trichords or bichords in the transition sections.   Different scale
designers will often give you different answers.  Sometimes there is more
than one choice (bichords or trichords).  

Sounds better, of course, is an esthetic judgment and it's a bit hard to
define.  I would say that the plain wire section of the piano probably
determines the piano's character (along with the soundboard and hammer of
course).  The wrapped tenor and bass, then, need to match the plain wire
section or at least transition smoothly.  What the ultimate character of the
bass is and how it supports the rest of the piano once the transition is
made is subject to interpretation and choice.  A Yamaha  bass scale is
different from a Steinway bass scale, and that is different from a Bechstein
scale.  Things like tension (high or low), core versus wrap dimensions
(thinner core wires versus thicker core wires relative to the overall
diameter of the string once it's wrapped), break point percentage, etc, will
all contribute to the character of the tone and the way in which the
partials are balanced, the relative strength of the fundamental versus the
upper partials, how prominent, etc.  

If you have an opportunity, take Del Fandrich's scale class in which many of
these differences are demonstrated (if he offers it again).  It's a great
class and really gives you an good basic understanding of scale design,
issues, and tonal differences.

Hopefully that's helpful as a start.    

David Love
www.davidlovepianos.com


-----Original Message-----
From: pianotech-bounces at ptg.org [mailto:pianotech-bounces at ptg.org] On Behalf
Of Joe Wiencek
Sent: Sunday, December 16, 2012 9:13 PM
To: pianotech at ptg.org
Subject: Re: [pianotech] GH-1s


To Dale, David, Joe and Ron et al,
I am trying to understand what determinations are considered when deciding
on making a scale to include trichords or bichords?  WHen you (all the piano
re-designers out there) describe one scale as having better tone than the
other, or you will sometimes favor tri-chords over bi-chords, what are
talking about?  Fundamental volume over higher overtones, less
inharmonicity, lower break %?  What is meant by "sounds" better?  One piano
you just "felt" like installing 3-string unisons on one piano that
particular day and 2-string unisons the next day?  I understand that
ultimately one decision must be made in order to finish the job, but how
does one make these determinations? You don't have to answer, but I am just
very curious.

Joe Wiencek