Larger piano? was Re: Decibel Levels

[Delwin D Fandrich]

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  ----- Original Message -----=20
  From: Wimblees@AOL.COM=20
  To: pianotech@ptg.org=20
  Sent: December 30, 2000 7:29 PM
  Subject: Larger piano? was Re: Decibel Levels


  Del=20

  Are you saying that a larger piano (lets say 7') in a church will not=20
  necessarily produce a larger sound than a smaller piano, (lets say =
5')?=20

  One problems we have in this industry is that a small piano is being =
used in=20
  a large sanctuary, where the piano player pounds the daylights out of =
the=20
  keys, in order to be heard. (which results in broken strings) What I =
have=20
  been trying to convince some churches is that they need a larger piano =
to=20
  produce more volume, so that the piano player doesn't have to pound so =
hard.=20
  But now, from what you say, a larger piano will not help. Or am I =
missing=20
  something?=20

  Wim=20

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  Yes. Bass. Especially in the example you give which is obviously =
rather extreme. A typical 5' (152 cm) piano will have an A-1 bass string =
of approximately length of between 1050 and 1150 cm. With a ridiculously =
short back scale. And with a bass bridge either mounted on an cantilever =
or right next to the rim. Or both. This will allow virtually no =
soundboard movement at the fundamental frequency of 27.5 cps.=20

  A more realistic comparison might be a 170 to 180 cm (5'7" to 5' 11") =
piano compared to the 7' (210 to 215 cm). The example I gave compared =
the Fandrich 122 cm (48") Vertical to the Bosendorfer Imperial. This =
vertical scale is roughly comparable to what could be found on a modern =
170 to 175 cm (5' 7" to 5' 9") grand.=20

  Now, I don't have a scale for the Imperial handy, so let's use a =
Steinway D scale for comparison--I doubt the Imperial scale is any =
longer, if as long, at this point. F-33 in the D is approximately 975 mm =
(38.4") long. It is only 960 mm (37.8") in the Model B. In the Fandrich =
Vertical it is 950 mm (37.4") long. This is not an acoustically =
significant difference as my side-by-side comparison with the Imperial =
indicated. From this point down there is no way to directly compare the =
two scales. The 122 Vertical changes from steel strings to bi-chord =
wrapped strings at that point and the D uses steel strings down to F-21. =
It is interesting to note, however, that the first bass note (E-20) of =
the Steinway B is approximately 1025 to 1030 mm (40.4" to 40.6") long =
and the same note in the 122 Vertical scale is 1022.5 mm (40.3") long.

  The longer string of the longer piano does--or at least, if the piano =
is designed to take full advantage of its length, it should--give a =
clearer and more articulate bass. But it will not necessarily be louder =
than its smaller counterpart. It does--or, again, should--put more =
energy in the fundamental of the bass note being played and this should =
help the bass notes carry through better. But the smaller piano will =
(should) be capable of essentially the same acoustical power through =
that part of the musical scale most commonly used. (Keep in mind, also, =
that acoustical power has to be either doubled or halved for our ears to =
discern any change.) And, even in the low bass some smaller pianos can =
generate a considerable amount of acoustical power. It may not always be =
very pleasant to listen to, but the numbers will be there.=20

  My point is simply, all things being equal and through most of the =
musical scale, larger pianos are not necessarily capable of =
significantly higher power levels as measured by a sound pressure level =
meter. Not that there will be no difference at all. There are so many =
variables involved that these kinds of generalities simply cannot be =
taken at face value. A well-designed small piano might very well =
out-perform a poorly designed larger piano. Each has to be evaluated and =
judged on its own merits.

  Personally, I think many church musicians play excessively loud =
because they simply cannot hear the piano over the choir and/or the =
congregation singing, not because of any inherent limitation on the part =
of the piano itself. The worst situation I have ever encountered in this =
regard was a church that had a quite nice Baldwin SD-6. I thought the =
piano was pretty loud when I tuned it, yet the pianist complained that =
it was not loud enough and he was, indeed, pounding the poor thing to =
death. Turned out he simply couldn't hear the piano from his own seat =
directly in front of the choir. A mike, monitor amp and a small speaker =
aimed directly at him mostly solved the problem. While it didn't make =
him a better pianist, he did stop his pounding and everybody was much =
happier by the result.

  Del

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