Joe W. said: "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, I would have to say I am of the same mind as the others. In the particular case of the GH-1, that started this conversation, I am doing the re-design to eleviate tuning instability and to get a, somewhat, smoother transition at the tenor/treble break. The original scale of note 27 was 88 pounds tension and 17% breaking strength! That note was, virtually impossible to tune as a unison or to any octaves! The Teacher who has owned the piano from new, was given all kinds of lip service and bascially no hope of improvement. She said she thought the dealer had "switched" the pianos from the one she chose and the one that was delivered. I told her that was possible, but that I doubted it occuring, due to the nature of how Yamaha is about business ethics and such. No company as good, imo!<G> That's the reason for this re-design. Will it magically make it a real Grand Piano? No, but it will make it "less bad", as my olde mentor used to say.<G> Or, to put it another way, it will be tolerable and closer to the norm. Regards, Joe Joe Garrett, R.P.T. Captain of the Tool Police Squares R I
This PTG archive page provided courtesy of Moy Piano Service, LLC