David,<br><br>In this particular piano the whole scale were changed.<br>If I should smooth out just the bass/tenor part and keep the steel strings as they are, I would change the whole bass in another way.<br>Anyway, it is not easy to talk about this. It all ends up in what we are hearing.<br>If those who are into this scale posting were gathered around some grands we could start talking about what we find good or bad. <br><br><br><b><i>David Love <davidlovepianos@comcast.net></i></b> skrev:<blockquote class="replbq" style="border-left: 2px solid rgb(16, 16, 255); margin-left: 5px; padding-left: 5px;"> <meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1"> <meta name="Generator" content="Microsoft Word 10 (filtered)"> <style> <!-- /* Font Definitions */ @font-face {font-family:Tahoma; panose-1:2 11 6 4 3 5 4 4 2 4;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {margin:0in; margin-bottom:.0001pt; font-size:12.0pt;
font-family:"Times New Roman";} a:link, span.MsoHyperlink {color:blue; text-decoration:underline;} a:visited, span.MsoHyperlinkFollowed {color:blue; text-decoration:underline;} p {margin-right:0in; margin-left:0in; font-size:12.0pt; font-family:"Times New Roman";} span.EmailStyle18 {font-family:Arial; color:navy;} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in;} div.Section1 {page:Section1;} --> </style> <div class="Section1"> <div class="MsoNormal"><font color="navy" face="Arial" size="2"><span style="font-size: 10pt; font-family: Arial; color: navy;">The other issue is that the changes made, that we were talking about originally, were to blend the bass better with the tenor. That actually required a slight lowering of the tensions. Whether this would break strings or not (not to mention the increased load on the plate) it seems that problem of blending would be exacerbated. With such high tensions, I also wonder
what would happen to the balance of partials in this section. It would seem that it would produce an even more weakened fundamental and quite powerful upper partials—even more so than the original. Not something I would aim for personally. </span></font></div> <div class="MsoNormal"><font color="navy" face="Arial" size="2"><span style="font-size: 10pt; font-family: Arial; color: navy;"> </span></font></div> <div> <div><font color="navy" face="Times New Roman" size="2"><span style="font-size: 10pt; color: navy;">David Love<br> davidlovepianos@comcast.net<br> www.davidlovepianos.com</span></font><font color="navy"><span style="color: navy;"> </span></font></div> </div> <div class="MsoNormal" style="margin-left: 0.5in;"><font face="Tahoma" size="2"><span style="font-size: 10pt; font-family: Tahoma;">-----Original Message-----<br> <b><span style="font-weight: bold;">From:</span></b> pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org]
<b><span style="font-weight: bold;">On Behalf Of </span></b>Aras<br> <b><span style="font-weight: bold;">Sent:</span></b> Tuesday, April 03, 2007 7:25 AM<br> <b><span style="font-weight: bold;">To:</span></b> </span></font><font face="Tahoma" size="2"><span style="font-size: 10pt; font-family: Tahoma;">Pianotech List</span></font><font face="Tahoma" size="2"><span style="font-size: 10pt; font-family: Tahoma;"><br> <b><span style="font-weight: bold;">Subject:</span></b> SV: Re: Steinway B Scale Conversion</span></font></div> <div class="MsoNormal" style="margin-left: 0.5in;"><font face="Times New Roman" size="3"><span style="font-size: 12pt;"> </span></font></div> <div class="MsoNormal" style="margin-left: 0.5in;"><font face="Times New Roman" size="3"><span style="font-size: 12pt;">OK, so here are the actual tensions in % from the breaking points in the rescaled B starting from A0 > A2<br> 73, 75, 76, 76, 76, 75, 75, 76, 64, 66, 68, 71, 72, 73, 75, 76, 76, 78, 77,
76, 58, 63, 70, 65, 70.<br> <br> And the % from the original B. Starting from A0 > E2<br> 37, 40, 45, 47, 55, 53, 54, 56, 49, 49, 47, 48, 47, 47, 48, 48, 48, 48, 46, 47.<br> <br> And here are the tensions in Newton/string:<br> 1533, 1521, 1476, 1425, 1970, 1290, 1301, 1309, 902, 926, 947, 949, 965, 967, 964, 968, 970, 947, 938, 925, 922, 926, 932, 952, 937.<br> <br> And tensions in Newton/string original:<br> 1156, 1107, 1088, 1139, 1160, 1128, 1140, 1066, 734, 742, 649, 659, 657, 623, 637, 638, 609, 604, 552, 570.<br> <br> As I wrote, no strings have been broken after more than 10 years of hard playing.<br> <br> <br> <b><i><span style="font-weight: bold; font-style: italic;">John Delacour <JD@pianomaker.co.uk></span></i></b> skrev:</span></font></div> <div class="MsoNormal" style="margin-left: 0.5in;"><font face="Times New Roman" size="3"><span style="font-size: 12pt;">At 5:02 pm -0500 2/4/07, Ron Nossaman wrote:<br> <br> >>Let others calculate the tension
of that scale and see who they <br> >>think has the more reason.<br> ><br> >I certainly wouldn't spec a scale like this, but...<br> ><br> >>The lengths for the 20 notes on the bass bridge are printed below. <br> >>When I see a bass scale that requires the wire for the greater part <br> >>of the scale to operate at over 80% of the actual breaking strain, <br> >>as high as 86% for one note, I know I'm looking at a recipe for <br> >>disaster.<br> ><br> >I show C-1 at 68% and 377lbs as the highest. What are you using to <br> >determine these percentages?<br> <br> In practice a No. 21 core with covers 70 and 170 will end up at <br> roughly 5.54 mm depending on who makes the string and how good a day <br> he's having. That gives a tension of roughly 351 lbs. I have the <br> breaking strain of mwg 21 as 405 lbs. so that gives 87%. Paulello <br> has 414 lbs as the breaking strain of his No. 21 'M' (modern) wire, <br> so very
close to the figure I have always used. Juan Más Cabré <br> <http: www.puresound-wire.com="">gives (245 kg) 540 lbs for No. 21 <br> "modern wire" and 470 lbs for his own, neither of which figures I <br> find in the least credible.<br> <br> It is clear from this discrepancy and from a recent difference in our <br> figures in another thread that you have a list of breaking strains <br> considerably higher than mine, which I obtained from the manufacturer <br> many years ago and which have served well for the bass string <br> manufactory for as long. I never intentionally make a bass string <br> that exceeds 70% of the breaking strain as per my list. Since I am <br> human I occasionally punch in the wrong length or something and <br> inadvertently send out a string (or even, most memorably just before <br> last Christmas, a whole set) that is over-tensioned. My pocket and <br> my serenity begin to suffer quite soon after as the customer's new <br> strings begin to go
bang.<br> <br> I am interested to know where you got your list of breaking strains <br> which differs so greatly from mine and Paulello's. Please send me it <br> off list and let me know its origin. Yours seems to be similar to <br> Más Cabré's, which, as I have said, I do not regard as serious. With <br> very few exceptions among the hundreds of calculated bass scales I <br> have, piano makers keep within the limits I have stated and models <br> that exceed them have problems with breakages, for example the <br> Bösendorfer I mentioned earlier. Schiedmayer & Soehne and Grotrian <br> are two makers a few of whose models have grossly exceeded the <br> limits. One string I always recognise when it comes in the post for <br> replacement -- I have lost count of the number of these I have <br> replaced with scaled down versions --is note 13 on the Blüthner 6'3" <br> style 6/7. The original string is 126.1 cm. long and has a No. 19 <br> core with an overall diameter of 3.38
mm. That gives a tension of <br> roughly 280 lbs. and requires the core to be at 82% of breaking <br> strain. This string (and the one below) will _always_ break even <br> though these Poehlmann wire used was far superior to what we have now.<br> <br> I should add that a greater margin is required for covered strings <br> than for plain wire owing to the eye. I know it is possible to <br> exceed the 70% limit for plain wire strings and the extreme treble of <br> many pianos does so, not to speak of several "long scales" I could <br> think of, Schiedmayer again being a foul offender.<br> <br> JD<br> <br> <br> <br> <br> <br> </http:></span></font></div> <div class="MsoNormal" style="margin-left: 0.5in;"><font face="Times New Roman" size="3"><span style="font-size: 12pt;"> </span></font></div> <div style="margin-left: 0.5in;"><font face="Times New Roman" size="3"><span style="font-size: 12pt;"> </span></font></div> <div class="MsoNormal" style="margin-left:
0.5in; text-align: center;" align="center"><font face="Times New Roman" size="3"><span style="font-size: 12pt;"> <hr align="center" size="1" width="100%"> </span></font></div> <div class="MsoNormal" style="margin-left: 0.5in;"><font face="Times New Roman" size="3"><span style="font-size: 12pt;"> </span></font></div> <table class="MsoNormalTable" style="width: 436.5pt; margin-left: 0.5in;" border="0" cellpadding="0" width="582"> <tbody><tr> <td style="padding: 0.75pt;"> <div class="MsoNormal"><font face="Times New Roman" size="3"><span style="font-size: 12pt;">Stava rätt! Stava lätt! Yahoo! Mails stavkontroll tar hand om tryckfelen och mycket mer! Få den på <a href="http://se.mail.yahoo.com">http://se.mail.yahoo.com</a></span></font></div> </td> </tr> </tbody></table> <div class="MsoNormal" style="margin-left: 0.5in;"><font face="Times New Roman" size="3"><span style="font-size: 12pt;"> </span></font></div> </div> </blockquote><br><p> 
                <hr size=1><br><table><tr><td>Stava rätt! Stava lätt! Yahoo! Mails stavkontroll tar hand om tryckfelen och mycket mer! Få den på <a href="http://se.mail.yahoo.com">http://se.mail.yahoo.com</a></td></tr></table>