> Dan Squire wrote: > > >>Interesting, flexibility is defined as the elongation due to a unit > load. Flexibility is the inverse of stiffness. By definition, this > means that the flexibility is inversely proportional to the modulus of > elasticity. Therefore, according to your statement, these different > brands of wire have different values for their modulus of elasticity. > I must assume that you got this information from a reliable > source. Would you please share that source. What are the respective > values for the modulus of elasticity for these different wire > brands?<< > > Tell me, do you think it's necessary to have scientific data for > different music wires in order to make a decision as to which one to > use when stringing a piano? If you have strung many pianos then you > are aware of the differences between wires - and this kind of > experience seemed to be what Jeff Stickney was seeking, not an > analysis of the modulous of elasticity for the different wires. > > It was nice to see that others on the list also thought Dan's message > was a bit unnecessary. > What is necessary is an understanding of the material properties and how they might influence the behavior of a vibrating string. If one says that the "flexibility" of various strings of a given length and cross sectional area are different, they are saying that modulous of elasticity is also. Therefore, if the flexibility of the wires are different so are the frequencies of their harmonics. Young's modulous is directly propertional the the frequencys of the harmonics. The reasons why I asked these questions were, assuming that the flexibility does vary, to see what consequences could this have on the piano. Would it be useful to use different types of wire in different areas of the instrument to achieve a desired affect? What effect could this have on unison tuning? Would it be significant? Shure sounds like this information would be useful to persons working on pianos. Dan Squire University of Houston
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