[pianotech] GH-1s

[Dale Erwin]

Hi guys
 Joe another example of decisions made.

  I do think that fundamentally(pun intended) the voice of a pianos begins with the string scale. Fitting a belly system to go with it is next and then the right hammers.
  I've mentioned a 6 ft 8 Henry miller that I rebuilt and redesigned a few years back.
 The short version is it had an aggregate string tension of 50,000 lbs. Very high.The rib structure was puny. No way it ever had crown and no way would the string bearing not collapse what little it had. The plate was built for this tension so it was obviously intentional.
  The bridge was a catenary shape/design like the Ivers & Pond mentioned earlier. Since the piano was similar in size to a Steinway B, the bridge was tossed, and a new one made based on an early 1900 Steinway B bridge shape that I had taken off a rebuild in process. I gave it the same string scale.
 This allowed for much shorter strings and a more usual 160 lb per strings scale.(down from 190 to 200 lbs per string).
 Other features included a treble cut-off(fish) curved bass cut-off and modest transition bridge to smooth the bass tenor break. The plate allowed for a very generous back scale thru out the sustain and power are nicely balanced.  I liked the piano as did young Mr. connor its owner and would not hesitate to do this again and or bring it to a convention for fun.
Dale


Dale Erwin R.P.T.
Erwin's Piano Restoration Inc.
www.Erwinspiano.com
Phone: 209-577-8397

 
  





-----Original Message-----
From: Jim Ialeggio <jim at grandpianosolutions.com>
To: pianotech <pianotech at ptg.org>
Sent: Tue, Dec 18, 2012 4:18 pm
Subject: [pianotech]  GH-1s


David wrote:

<I think it may be that what you heard in those pianos was a much lower 
tension scale. Those lower tension scales produce less power but 
stronger fundamental which can be heard as greater clarity, a simpler 
and warmer sound anyway. I have a customer with an 1850's Bosendorfer, 
wooden frame, very low tension. The piano lacks the power, of course, of 
a modern piano but has a certain warmth and character to it that is 
quite pleasing.

Exactly my point. My hunch is that there is room here to experiment and 
try to find something akin to a hybrid zone. It ain't all the strings as 
we agree, but the strings are part of the puzzle.  I will continue to 
mess around with the problem.

Jim Ialeggio

-- 
Jim Ialeggio	
jim at grandpianosolutions.com
978 425-9026
Shirley Center, MA


 

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