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<DIV><FONT face=Arial>Dale, I must concur. When I string the Steinway's I
rebuild, I don't get all those false beats in the treble. Never thought about
that until you just said it. (light bulb lit).</FONT></DIV>
<DIV><FONT face=Arial></FONT> </DIV>
<DIV><FONT face=Arial>Al Guecia</FONT></DIV>
<DIV><FONT face=Arial></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=erwinspiano@aol.com
href="mailto:erwinspiano@aol.com">erwinspiano@aol.com</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> Monday, April 14, 2008 2:12
AM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: stretching wire -- a
preliminary test</DIV>
<DIV><BR></DIV><WBR>Jd/Bill<BR> I have an observation based solely on
experience. I can't prove it to any ones satisfaction but my own but here
goes. <BR> I sincerely believe that the wire can be deformed along it's
length by over stretching & it is permanent. I state the case of every new
Steinway. The treble seduction from not 70 ish on up are extraordinarily
false. Now I don't want to get into bridge pins & all that again but my
theory is that the stringers are over pulling this section excessively and
creating the falseness by deformation.<BR> I have my own shop experience
to go along with this.<BR> You see, I once had an excellent stringer
before the Lovely & talented Beatrix took over that job.<BR> Terry
strung all my piano for about 5 years & she was very good. The only
problem was that the notes in the no.68-70 on up were extremely false. One day
as we were brainstorming this together she said well I always do everything
the same I pull the wire up a half step over pitch ...just like you
said. Shell shocked I said...I never subscribed to such a thing. It was
a tense moment.<BR> After this we only string pulling the wire only up
to pitch, & the first pitch raise is only up to pitch. The next pitch
raise we pull only 10 cents above pitch & then we let it
settle.<BR> Since doing this are false beats have been cut down by 80% or
better.<BR> We also switched to gold wire from mapes & this also
improved things further. <BR> So my assertion is that wire deforms
when it approaches it elastic limit. Perhaps I'm off base but thats' my story
& I'm stickin to it. My ears are happier but maybe this is a different
piece of the puzzle<BR> So tell me does this have any
relevance.............if not I'll go back to bed....It's late<BR>
Dale<BR> <BR><BR><BR><BR><BR>
<DIV id=AOLMsgPart_0_8730d8d6-b2e2-4be9-8554-4735e50eb508
style="FONT-SIZE: 12px; MARGIN: 0px; COLOR: #000; FONT-FAMILY: Tahoma, Verdana, Arial, Sans-Serif; BACKGROUND-COLOR: #fff">At
21:00 -0500 10/4/08, William R. Monroe wrote: <BR> <BR>>I think
the point for me is that there are other factors to consider >re: pitch
drops in pianos than long-term elastic deformation of >wire, and they
shouldn't be dismissed without due diligence. <BR> <BR>Certainly
not, but they can be eliminated in tests. <BR> <BR>The test I am
about to describe is very basic and not satisfactory to me, but if there had
been no pitch drop from this test I would have waited longer before devising a
more decisive test. <BR> <BR>A length of 17.5 (1 mm) Röslau polished
wire was stretched between two 7mm wrestpins knocked very tightly into a solid
mahogany tapered piano leg about 42cm apart so that the wire was only slightly
above the surface of the wood. The coils were well knocked down and the wire
pulled firmly sideways while it was tuned to G-392. This requires a tension of
about 150 lbs, which is roughly half the "elasticity limit" of the wire --300
lbs (Röslau advertises 395 lbs. as the breaking strain of this
size). <BR> <BR>Over the space of an hour the string was pulled and
plucked repeatedly and made to hold its pitch exactly under repeated
plucking. <BR> <BR>During the day of the set-up there was no
significant change in the pitch of the note. <BR> <BR>Humidity and
temperature remained practically constant. <BR> <BR>When plucked
about 24 hours later a fall in the pitch of the note of 4 or 5 cents was
noted. <BR> <BR>48 hours later the note is 9 or 10 cents
flat. <BR> <BR>We shall see. <BR> <BR>The main objection
to this test is that the unlikely but not excluded possibility of movement in
or of the wood is not excluded. The next tests will eliminate this
weakness. <BR> <BR>JD <BR> <BR> <BR> <BR></DIV><!-- end of AOLMsgPart_0_8730d8d6-b2e2-4be9-8554-4735e50eb508 -->
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