On Dec 5, 2009, at 10:26 AM, Cliff Lesher wrote: > I'm still interested. I love it when facts slam dunk fictional > thinking. > > Cliff Lesher > Winfield, PA Well, I don't know if there will be a slam dunk. But here are some figures: C7 at 3.9" or 99 mm .031" (.80 mm) 69Kg 55% .033" (.84 mm) 76 Kg 59% .037" (.94 mm) 95 Kg 60% .041" (1.04 mm) 117 Kg 61% C4 at 23.4" or 595 mm .031" 39 Kg 31% .033" 43 Kg 33% .037" 54 Kg 34% .041" 66 Kg 35% Using a different spreadsheet: C7 at 3.9" or 99 mm .031" (.80 mm) 67Kg 52% .033" (.84 mm) 76 Kg 53% .037" (.94 mm) 95 Kg 55% .041" (1.04 mm) 117 Kg 57% C4 at 23.4" or 595 mm .031" 38 Kg 29.2% .033" 43 Kg 29.8% .037" 54 Kg 31% .041" 66 Kg 32% How significant is this under what circumstances? Under most circumstances, probably not very significant. But when you are pushing the envelope, as, for instance, stringing a modern grand with Pure Sound throughout, or trying to restore an old instrument with Rose wire, it may be the difference. And it sure looks to me like the pattern is clear. As Ron says, it doesn't much matter in a normal modern grand, where the most you are going to do is a half or full size, and where the tensions are already low for most of the scale, typically well below 40% except up high. And also, for the top notes, just a little too big a distance for C8 makes it impossible. Still, for that C8, it's a better bet to go down to #12 wire than up to #14. Regards, Fred Sturm University of New Mexico fssturm at unm.edu
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