<!doctype html public "-//W3C//DTD W3 HTML//EN"> <html><head><style type="text/css"></style><title>Re: changing harmonicity</title></head><body> <div>Joe, Richard et al,</div> <div><br></div> <div>At 7:47 PM +0100 5/3/04, Richard Brekne wrote:</div> <div><br></div> <blockquote type="cite" cite>Actually... unless I am mistaken again.. tension works in to this only indirectly, in as much as it is the stiffness factor we are after here. More tension yeilds higher stiffness all other things being equal.</blockquote> <div><br></div> <div>As Joe rightly claimed, tension affects inharmonicity in a very direct way. After all, it is the stiffness of the wire which causes inharmonicity in the first instance. If you think of a speaking length string segment at the moment during the cycle when it is farthest from its resting position<font color="#0000FF"> (ie. at 90 and 270 degrees)</font>, if the string did not have some quantifiable stiffness, the speaking length would flex right up to the string length termination. But this doesn't happen in a real-world piano. Due to the wire's stiffness, there is some reluctance on the part of the wire to deflect right to the end terminations. Consider the situation further as it exists at the termination. On the speaking length side of the termination the speaking length is trying to pull the 'reluctant string zone'<font color="#0000FF"> (adjacent to the termination)</font> along with its own excursions from rest, while the duplex or counter-bearing segment<font color="#0000FF"> (on the other side of the termination)</font> is trying to hold the 'reluctant string zone' steady. Both will have influence so there is certain to be some loss of string activity at the speaking length zone near the termination. The stiffer the wire the greater the effect, the higher the tension the less the effect. The higher tension will force more of the 'reluctant string zone', adjacent to the terminations, to be active.</div> <div><br></div> <div>So while a higher string tension increases the string's ability to resist the blow of the hammer, it also forces a higher percentage of  the speaking length segment to be active, lowering inharmonicity.</div> <div><br></div> <div>Ron O.</div> <x-sigsep><pre>-- </pre></x-sigsep> <div><font face="Times New Roman" size="+1" color="#0000FF"><b>OVERS PIANOS - SYDNEY</b></font></div> <div><font color="#000000"><i>   </i></font><font color="#0000FF"><i>Grand Piano Manufacturers</i></font><font color="#000000"><br> _______________________</font></div> <div><font size="-2" color="#000000"><br> </font><font color="#000000">Web http://overspianos.com.au</font></div> <div><font color="#000000">mailto:info@overspianos.com.au<br> _______________________</font></div> </body> </html>