<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD><TITLE>Re: Scaling Problem reduex</TITLE> <META http-equiv=Content-Type content="text/html; = charset=iso-8859-1"> <STYLE type=text/css>BLOCKQUOTE { MARGIN-TOP: 0px; MARGIN-BOTTOM: 0px } DL { MARGIN-TOP: 0px; MARGIN-BOTTOM: 0px } UL { MARGIN-TOP: 0px; MARGIN-BOTTOM: 0px } OL { MARGIN-TOP: 0px; MARGIN-BOTTOM: 0px } LI { MARGIN-TOP: 0px; MARGIN-BOTTOM: 0px } </STYLE> <META content="MSHTML 5.50.4522.1800" name=GENERATOR></HEAD> <BODY bgColor=#ffffff> <DIV><FONT face=Arial size=2>Ain't gonna lurk no mo, no = mo!</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>I'm gonna tell a story.  It's a = bit sad and  embarrassing for me but it ends okay.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>A young man and his sister found an art = deco piano on the internet a year or so ago for 10000 dollars.  It had a = severely cracked plate in the middle section.  A half moon crack thru the = tuning pin area and the two struts at the ends cracked about half way thru.  = This piano was a Strohmenger made in London about 1930.  It was = 4'1".  Piano was a half round</FONT></DIV> <DIV><FONT face=Arial size=2>shape (As Victor Borge would say "That = big fat opera singer didn't lean on the side of the piano.") It was 2-tone, dark = mahogany and light maple, and the rear of the lid opened like a duck's = rear end.  The legs swooped down to the floor to meet at the lyre.  = The mover said "I'll never forget where you live-It's where I saw this butt = ugly piano".  Actually, it grew on me.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>The piano was in Austin,Tex and I was = shown a Xerox of the crack.  I told them that if anyone in the area could fix it = I could and I doubted anyone else would even try.  I won't give you a price = tho till I see it.  Well, they went ahead and bought it for 8000 and I = did take on the job.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>After repairing the plate (no I didn't = weld it, I re-enforced it patched it and used 1/4 thick, 2 inch wide steel bar to = support the sagging section and used lots of screws and steel filled epoxy.)</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>Now the embarrassing part.  I = rescaled the piano and was stringing fat, dumb and happy from the top down in the = bass and was 2/3 finished when I realized I was twisting the strings in the wrong = direction.  Whoops! So I corrected them and continued.  You'll = see why I have to admit this later.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>The reason this applies to scaling is = that this piano had 35 notes below the bass break.  There were no agraffes at = all.  Notes 36 and 37 were bichord wound strings and the next four = notes were bichord plain wire.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>I had a real problem when I chipped = it.  Lots of chipping but </FONT></DIV> <DIV><FONT face=Arial size=2>the center section finally settled down.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>Now when I tried to actually tune it, = note 35 sounded terrible. It just couldn't be tuned.  I tried tuning the fundamental of both strings to the accutuner and the two strings didn't = even sound the same.  Then I found that the left strings = partials 2-5 were  21, 3, 4, and18 cents flat.  The right were 21, 18, 21 = and 38 cents flat.  I sure didn't know what to do.  I called = everybody I could think of.  Nobody could give me a good explanation.  So = I ordered a pair of the smallest universal strings I could get, put them = on and lo and behold, It sounded good.  So I ordered four more strings and = used them on notes 36 and 37 ( the first notes above the bass break)  They = weren't nearly as bad as note 35 but </FONT></DIV> <DIV><FONT face=Arial size=2>I replaced the anyway.  = </FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>Now after all this work, I thought that = piano sounder better that a lot of much larger poorly scaled grands. Certainly = the best sounding 4'1" I've seen.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>The customer is delighted and so am = I.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>Here are some questions.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>Did my twisting the strings in the = wrong direction damage them and what exactly did it do to them? And why just the = top three?</FONT></DIV> <DIV><FONT face=Arial size=2>If they were just bad strings, what was = wrong with them?</FONT></DIV> <DIV><FONT face=Arial size=2>I'm suspicious that the string winder = didn't use enough tension, but would that cause the partials to go = flat?</FONT></DIV> <DIV><FONT face=Arial size=2>I checked the strings diameter and = length etc and couldn't find anything wrong, no loose windings, nothing.  = </FONT></DIV> <DIV><FONT face=Arial size=2>What happened?  = Anybody?</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>Thanks</FONT></DIV> <DIV> </DIV> <DIV><FONT face=Arial size=2>Carl Meyer</FONT> </DIV> <DIV> </DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV>---- Original Message ----- </DIV> <BLOCKQUOTE dir=ltr style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; = BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> <DIV style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: = black"><B>From:</B> <A title=sec@overspianos.com.au = href="mailto:sec@overspianos.com.au">Overs Pianos</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></B> </DIV> <DIV style="FONT: 10pt arial"><B></B> </DIV> <DIV style="FONT: 10pt arial"><B></B> </DIV> <DIV style="FONT: 10pt arial"><B>Sent:</B> Sunday, May 20, 2001 6:11 = AM</DIV> <DIV style="FONT: 10pt arial"><B>Subject:</B> Re: Scaling Problem = reduex</DIV> <DIV><BR></DIV> <DIV>Kevin, Joe, Ron and other lurkers,</DIV> <DIV><BR></DIV> <DIV>Saw your post earlier today Kevin when you wrote:</DIV> <DIV><BR></DIV> <BLOCKQUOTE cite type="cite"><FONT face=Arial size=-1> I've = noticed something on some newer pianos lately . . . I've been encountering = more and more pianos of late that seem to have a real scaling problem in the = low tenor section. . . but where I really see it is in the new Yamaha = model GA1, and . . GH1. What is happening is that the designers of these pianos = have put too many notes in the tenor that belong in the bass. As you play = chromatically down the scale, these notes start sounding like "pong-pong-pong" and then you hit the bass, and they sound normal again.</FONT></BLOCKQUOTE> <DIV><BR></DIV> <DIV>Your absolutely correct. Why oh why are so many manufacturers so = 'thick' that they can't see that they're crippling their smaller pianos by = insisting on breaking at B27. Little pianos like the GA1 should break at E32/F33 = at the lowest, but they just don't get it.</DIV> <DIV><BR></DIV> <BLOCKQUOTE cite type="cite"><FONT face=Arial = size=-1>    I know that this is caused by continuing to drop the tension on the = strings in order to get the fundamental down to the required frequency, but you = reach a certain point, and you get a tone that seems hollow and is very = difficult to fit in with the rest of the tuning.</FONT></BLOCKQUOTE> <DIV><BR></DIV> <DIV>As soon as the long bridge turns and heads for the bass side of = the case the scale has had it. If the break was higher up the tension wouldn't = fall away so dramatically.</DIV> <DIV><BR></DIV> <BLOCKQUOTE cite type="cite"><FONT face=Arial = size=-1>    I've had some partial success with carefully doping the hammers, and = voicing the bass down, plus leveling strings, straightening termination = points etc., but not to any totally satisfactory result.</FONT></BLOCKQUOTE> <DIV><BR></DIV> <DIV>No it's not possible to get it satisfactory. But why should = technicians in the field have to go to such measures just to get the things to = sound somewhat like a piano. And it's only half a fix anyhow, because the = problem is with the scale.</DIV> <DIV><BR></DIV> <DIV>Ron N's suggestion was sound, and I have no doubt that installing = bichord covers for a few notes will make the piano 'less bad' as he says. But = I'm more in favour of installing a tenor bridge and completely rescaling the = thing. But you wouldn't bother with a little entry level piano like the = GA1.</DIV> <DIV><BR></DIV> <DIV>Kevin continued later in the day;</DIV> <DIV><BR></DIV> <BLOCKQUOTE cite type="cite"><FONT face=Arial size=-1>Thanks to = all who have responded. . . . . . . . I have nothing but the greatest respect for = Yamaha, and their products, (I own two) but I can't understand why that = company, which is the most advanced in the world, could produce a product = with such obvious poor planning.</FONT></BLOCKQUOTE> <DIV><BR></DIV> <DIV>While Yamaha certainly know how to manufacture pianos to a = blueprint, they get the blueprint wrong. They don't seem to have a clue about = scale design with their smaller grands (ie, anything under and before the = C7F), and there's not a Japanese manufacturer with a decent upright scale. = Furthermore, both the Yamaha CF and Kawai's EX are basically scaling clones of the = Steinway D (all three have got a speaking length at F21 of 183 cm - what a = magic number this must be!). Why? Why do this? What's so wrong with doing a bit of = original thinking. We've all basically wasted a whole century by trying to = follow in the foot steps of one company. Why do this? We homo sapiens are = supposed to be intelligent, but sometimes we seem to be no more creative than = sheep.</DIV> <DIV><BR></DIV> <BLOCKQUOTE cite type="cite"><FONT face=Arial size=-1>The = Japanese are such industrious and intelligent people, that you would think that surely = they would stop and go back to the drawing-board before shipping one.</FONT></BLOCKQUOTE> <DIV><BR></DIV> <DIV>There are intelligent folks and idiots amongst all nationalities. = We just need to believe in ourselves now and then. We can move forward if we = let ourselves do it. It's no use going back to the 'drawing board' only to = produce the same old trash. We need to rethink the parameters, and it needs to = happen in our generation. Actually, I believe this list just might make it = possible. Isn't that an exciting prospect.</DIV> <DIV><BR></DIV> <BLOCKQUOTE cite type="cite"><FONT face=Arial = size=-1>    If I tuned nothing but Yamaha grands, I could spend out my days in = relative happiness.</FONT></BLOCKQUOTE> <DIV><BR></DIV> <DIV>I couldn't. They're fine while ever the wether stays stable. But = as soon as the wether changes the tuning stability is 'out the window', and = its scale and down bearing and sound board related.</DIV> <DIV><BR></DIV> <BLOCKQUOTE cite type="cite"><FONT face=Arial size=-1>But I just = don't get it with these really small ones that are starting to come out on the = market.</FONT></BLOCKQUOTE> <DIV><BR></DIV> <DIV>Many designers seem to be such 'traditionaloids', they can't = bring themselves to move the break away from A#26/B27. That's where it's = always been historically - so we can't mess with tradition can we? It's a similar situation with 7' grands which break at E20/F21. Just because the = concert piano breaks at F21, why should the 7' scale be ruined by breaking it = at F21. A 145 cm F21 speaking length on the 7' is going to be somewhat short = on break % compared to the 183 cm F21 on the concert piano (and there's a = 'paddock full' of these ordinary 7' pianos out there, which could be so much = better at no extra cost). Let's damn tradition, if there's a better way of = designing than the traditional way.</DIV> <DIV><BR></DIV> <BLOCKQUOTE cite type="cite"><FONT face=Arial = size=-1>    But I'm not working to please myself. I just don't want a customer to = buy one, and then think that it's a tuning issue, like I should be able to = just fix it in three to five minutes. I'm a "technician"  not a  "magician".</FONT></BLOCKQUOTE> <DIV><BR></DIV> <DIV>Exactly, but you'd need to be a magician to get many of those = stupid little designs to hold tune for longer than takes for you to get your = kit back in the car - if indeed you were able to get it into tune at all. I had = an experience some years ago when I got a call-back to a newish Japanese = 131 cm top of the range vertical I'd tuned the week before. "It's gone out of = tune", she bleated over the phone. When I checked the piano, it was the = fallen-over tension area just before the cross which had gone quite sharp (it had = rained during the week since the tuning hadn't it!). When I tried to explain = that the problem was with the scale design of the piano, the client didn't = believe me. She accused me of incompetence and of trying to pass the blame onto = the piano - which couldn't be the problem, after all, it was a new piano! I was = less than impressed with the prospect of wearing the blame for something = which I knew to be due to poor scale design.</DIV> <DIV><BR></DIV> <DIV>There, I feel a whole lot better now. I've been quietly bubbling = over for a while on this issue. Thanks Kevin.</DIV> <DIV><BR></DIV> <DIV>We must widen our design perspective. It is now possible to = design and build pianos which are better than anything which has gone before. = Let's do it! Even the cheaper pianos could still have better design.</DIV> <DIV><BR></DIV> <DIV>Over and out.</DIV> <DIV><BR></DIV> <DIV>Ron O</DIV> <DIV>-- <BR>______________________________<BR><BR>Website:  = http://www.overspianos.com.au<BR>Email:     &nbs= p;  = mailto:ron@overspianos.com.au<BR>______________________________</DIV></BL= OCKQUOTE></BODY></HTML>