[CAUT] Advice for achieving stability sooner?

[G Cousins]

Maybe it the metric guage wire. (grin)

 

Gerry C
 
> Date: Tue, 9 Feb 2010 11:18:03 -0600
> From: rnossaman at cox.net
> To: caut at ptg.org
> Subject: Re: [CAUT] Advice for achieving stability sooner?
> 
> > On Feb 8, 2010, at 6:38 PM, Jeff Tanner wrote:
> >
> >> I've found that Asian pianos do need this for some reason, 
> and it
> >> doesn't always have to be right out of the box. I've used 
> this
> >> technique on Asian pianos which have had tuning 
> instability for years,
> >> and it settles them down. I don't know if it is the 
> rendering, or if
> >> the wire stretches (which is kind of what it feels like), 
> or the coil
> >> tightens, or all of the above. But you're right. This works.
> >>
> >> But why is it that I don't seem to find that American 
> pianos respond
> >> the same way?
> >
> Fred Sturm wrote:
> 
> > 
> > When I had a Baldwin loan program, I found it was definitely true of 
> > both grands and uprights (you could almost always pound flat by 25 cents 
> > of more, especially high treble, after a string and pin was otherwise 
> > seemingly stable). 
> 
> 
> I think it's pretty much got to be coming from the back scale, 
> through the bridges. I find this most with Yamahas (the only 
> Asian pianos I get to tune with any regularity) after even a 
> slight pitch increase. One good whack drops pitch quite a bit, 
> after which it's quite docile. It also happens yearly, under 
> the wrong humidity cycle conditions, so I don't see any way it 
> could be strings straightening around terminations. American 
> pianos do it too, but it's a lot harder to make it happen. 
> Perhaps the differences between bridge pin plating and 
> resulting friction. Another clue that it's coming from the 
> back scale is that it doesn't happen in the bass or tenor, 
> where the strings are long and heavy and the back scales 
> proportionately short. In the treble sections, the speaking 
> lengths are short and light, with proportionately long back 
> scales (all of it, not just tuned duplex). It's the same 
> phenomenon that accounts for a half semitone pitch raise 
> showing ragged unisons a couple of weeks afterward in spite of 
> sounding pretty good when you left it. Strings creep across 
> bridges all the time with temperature and humidity changes, 
> never quite matching back scale tensions with the front scale, 
> but always trying. Nothing ever stands still. Everything is 
> always on the way to somewhere else.
> Ron N
 		 	   		  
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