Gregory Torres wrote: > This thread brings to mind a question probably some or even most of us have asked. > > How hard is it really for the manufacturers to just put a decent scale on some of these > smaller pianos ? > I have tuned many pianos that were maybe not the highest quality construction overall but > they tuned nicely. On the other hand far too many seem to have been made with some care > but no matter how hard we try the scale prohibits a smooth temperament. > > Why is it that we should have to re-scale these beasts when perhaps it can and should be > done correctly at the factory? > > Regards, > Greg Torres -------------------------------------------------------------- Greg, If you've read the first two installments of the three (maybe four) part series on small piano design, you will understand that it is not impossible. In fact, it is not even very difficult. For obvious reasons I'm not publishing all of the details of the scale design, but it would be very "tunable." The unison tensions and string impedance's are relatively uniform. The inharmonicity curve is smooth. It would be very easy to tune across the bass/tenor break. There would be no discontinuity across the tenor/treble break. In this case, it would be necessary to develop a new plate, but it could easily be adapted to most any manufacturers existing back assembly and cabinets. . Many pianos currently on the market still use stringing scales that were "designed" some decades ago. In several cases, more than a century ago. Certainly well before the mathematics of good scale design was well developed. These scales seem to take on a life of their own and, even though the cabinetry, the model numbers, the price points, etc., all change, the scales seem to go on forever. In some cases the same scale will even be used for pianos of different sizes. Sohmer consoles and studios used the same stringing scales. The back scale of the bass section was longer in the studio, but the speaking lengths were the same. The studio tuned no more easily than the console. Didn't really sound any better, either. The 40" and 42" Baldwin consoles both use the same stringing scale. The 42" plate simply uses an extension along the bottom of the plate to match it to the taller back assembly. The scale problems you are referring to exist in both large and small pianos. Take a look at the bass/tenor break in most any modern 9' concert grand. It's just that there is more tolerance to error in a large instrument. It takes a lot more effort to build a bad sounding concert grand than it does to build a bad sounding console -- though it can be done. I don't know why there is not a stronger desire on the part of manufacturers to bring their scales into line with at least current scale design practice. In most other industries, when manufacturers are faced with declining sales, at least one cause of which is traceable to an obsolete product line, they respond by pouring money into product design and development. In the piano industry they pour money into slick marketing and sales programs and look for ways to cut manufacturing costs. Marketing and sales programs are important, but it seems to me that the task of marketing and sales would be made somewhat easier if there were a contemporary, dynamic product to market and sell. It would also make the life of the poor tuner a whole lot easier. Regards, Del
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