<font color='navy' size='2' face='Comic Sans MS, sans-serif'><font color="#000080" face="Comic Sans MS, sans-serif" size="2">Hi guys</font>
<div><font color="#000080" face="Comic Sans MS, sans-serif" size="2"> Joe another example of decisions made.<br>
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<div><font color="#000080" face="Comic Sans MS, sans-serif" size="2"> I do think that fundamentally(pun </font><font color="#000080" face="Comic Sans MS, sans-serif">intended</font><font color="#000080" face="Comic Sans MS, sans-serif" size="2">) 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.</font></div>
<div><font color="#000080" face="Comic Sans MS, sans-serif" size="2"> I've mentioned a 6 ft 8 Henry miller that I rebuilt and redesigned a few years back.</font></div>
<div><font color="#000080" face="Comic Sans MS, sans-serif" size="2"> 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.</font></div>
<div><font color="#000080" face="Comic Sans MS, sans-serif" size="2"> 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.</font></div>
<div><font color="#000080" face="Comic Sans MS, sans-serif" size="2"> This allowed for much shorter strings and a more usual 160 lb per strings scale.(down from 190 to 200 lbs per string).</font></div>
<div><font color="#000080" face="Comic Sans MS, sans-serif" size="2"> 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.</font></div>
<div><font color="#000080" face="Comic Sans MS, sans-serif" size="2">Dale<br>
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<div style="color: navy; font-family: 'Comic Sans MS', sans-serif; font-size: 10pt; clear: both;"><font size="1" color="royalblue"><b><font face="Georgia, Times New Roman, Times, Serif"><font color="black"><font color="mediumblue" face="Comic Sans MS, sans-serif">Dale Erwin R.P.T.<br>
<font color="green">Erwin's Piano Restoration Inc.</font><br>
</font></font></font></b></font><font color="darkgreen"><span style="font-style: italic;"><b><font size="1"><font size="1" color="cornflowerblue" face="Comic Sans MS, sans-serif">www.Erwinspiano.com</font><font size="1"><br>
</font><font size="1" color="crimson" face="Comic Sans MS, sans-serif">Phone: 209-577-8397</font><br>
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<div style="color: black; font-family: arial, helvetica; font-size: 10pt;">-----Original Message-----<br>
From: Jim Ialeggio <jim@grandpianosolutions.com><br>
To: pianotech <pianotech@ptg.org><br>
Sent: Tue, Dec 18, 2012 4:18 pm<br>
Subject: [pianotech] GH-1s<br>
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<pre style="font-size: 9pt;"><tt>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
<a href="mailto:jim@grandpianosolutions.com">jim@grandpianosolutions.com</a>
978 425-9026
Shirley Center, MA
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