<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=Content-Type content="text/html; = charset=iso-8859-1"> <META content="MSHTML 5.50.4134.100" name=GENERATOR> <STYLE></STYLE> </HEAD> <BODY style="FONT-SIZE: 10pt; FONT-FAMILY: Arial; BACKGROUND-COLOR: = #ffffff" bgColor=#ffffff> <DIV>He means that in the 2nd case the overtones start developing on = loud playing, while in the 3rd case they are being produced in abundance even = at normal playing and cause distortions at loud playing. I don't know if = louder playing changes the inharmonicity of a string in any way, and = Fenner doesn't say anything about this. My guess: it's just the fact that = you hear more partials with loud playing.</DIV> <DIV>I have never tried analysing the harmonic spectrum of a piano's = note and comparing it to other brands in terms of inharmonicity and volume of the = different partials - if anybody here did, please share your = findings with us. I assume that much of the tonal character of an instrument is given = by the amplitudes of the different partials in relation to eachother and = to the fundamental.</DIV> <DIV> <DIV>I wonder if the reason I like the Bechstein sound so much is = connected to inharmonicity or to the mix of partials or maybe both. What I can = say for myself (about old Bechsteins though) is that they tend to have a very = rich and brilliant sound even at moderate volume levels. </DIV></DIV> <DIV> </DIV> <DIV> Calin Tantareanu<BR>----------------------------------------------------<BR>&nb= sp;<A href="http://calintantareanu.tripod.com">http://calintantareanu.tripod.= com</A><BR>----------------------------------------------------</DIV> <DIV> </DIV> <BLOCKQUOTE dir=ltr style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; = BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> <DIV style="FONT: 10pt arial">----- Original Message ----- </DIV> <DIV style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: = black"><B>From:</B> <A title=741662027@charter.net = href="mailto:741662027@charter.net">Cy Shuster</A> </DIV> <DIV style="FONT: 10pt arial"><B>To:</B> <A = title=pianotech@ptg.org href="mailto:pianotech@ptg.org">Pianotech</A> </DIV> <DIV style="FONT: 10pt arial"><B>Sent:</B> Wednesday, January 14, = 2004 9:29 PM</DIV> <DIV style="FONT: 10pt arial"><B>Subject:</B> Re: Piano stringing = scales</DIV> <DIV><BR></DIV> <DIV><FONT face="Verdana Ref">Why is it that louder playing results = in "overtones higher than acceptable" in one case, but "gives colour" in = another case?  </FONT></DIV> <DIV><FONT face="Verdana Ref"></FONT> </DIV> <DIV><FONT face="Verdana Ref">What's the mechanism here?  Does = he imply that louder notes have more inharmonicity, or is it just that you = can't hear as many partials on softer notes?</FONT></DIV> <DIV><FONT face="Verdana Ref"></FONT> </DIV> <DIV><FONT face="Verdana Ref">--Cy Shuster--</FONT></DIV> <DIV><FONT face="Verdana Ref">Rochester, MN</FONT></DIV> <BLOCKQUOTE dir=ltr style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; = BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> <DIV style="FONT: 10pt arial">----- Original Message ----- </DIV> <DIV style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: = black"><B>From:</B> <A title=dnu@fx.ro href="mailto:dnu@fx.ro">Calin Tantareanu</A> = </DIV> <DIV style="FONT: 10pt arial"><B>To:</B> <A = title=pianotech@ptg.org href="mailto:pianotech@ptg.org">pianotech@ptg.org</A> </DIV> <DIV style="FONT: 10pt arial"><B>Sent:</B> Wednesday, January 14, = 2004 12:36 PM</DIV> <DIV style="FONT: 10pt arial"><B>Subject:</B> Re: Piano stringing scales</DIV> <DIV><FONT face="Verdana Ref"></FONT><FONT face="Verdana Ref"></FONT><BR></DIV> <DIV><FONT face="Verdana Ref"></FONT> </DIV> <DIV>2. Scales with inharmonicity values higher then average or = close to the upper "limit"</DIV> <DIV>With increasing dynamics the adding up of overtones gives the = sound colour, without getting unpleasant.</DIV> <DIV>Examples: Grotrian-Steinweg, Yamaha, Steinway</DIV> <DIV><FONT face="Verdana Ref"></FONT> </DIV> <DIV>3. Inharmonicity is at the "limit" or above</DIV> <DIV>At normal playing volume, the tonal character makes an = outstanding impression. But with increasing dynamics, the stretching of the = overtones gets higher than acceptable to the ear and becomes distorted. = This happens especially when the string termination isn't perfect. = Because one needs to voice the piano mellow to avoid distortion, powerful = fortissimos aren't possible.</DIV> <DIV>Examples: Fenner states that such a scale can be found, = nowadays, only in Bechstein pianos.</DIV> <DIV><FONT face="Verdana = Ref"></FONT> </DIV></BLOCKQUOTE></BLOCKQUOTE></BODY></HTML>