Hammers and scale

[David Love]

Thanks Ron:

I guess I'm talking about an "all other things being equal" situation.  If,
on a given piano, one determines that the tensions in the treble needs to be
increased, for example, to bring the tension curve more in line with the
rest of the piano, would you expect to have to reconsider the hammer style
to accommodate that change.  Or, are there other things one must consider
changing if the string tensions are altered from the original

To put it a different way, I notice that the tensions on some Steinways tend
to be a bit low crossing the treble break.  Many formulas for calculating
the scale call for an increase in the wire diameters in those sections.

What, in your experience, explains the disparity between the original scale
design and the recalculated scale that calls for that type of change.  Is it
a difference in general philosophy?  And how would you characterize that
difference.  Is there something in the Steinway soundboard assembly that
calls for that type of original scaling?  Is it just that Steinway copied
another scale without bothering to check it out.  Does putting a higher
tension scale in that section create other tonal problems?  Would a slightly
higher tension cause you to reconsider how you set downbearing, for
instance?

David Love

----- Original Message -----
From: "Ron Nossaman" <RNossaman@cox.net>
To: "Pianotech" <pianotech@ptg.org>
Sent: September 19, 2002 7:29 PM
Subject: Re: Hammers and scale



>I'd be interested in hearing more on the relationship between hammers and
>scale design.

If you're talking about just string scale design, I'm not sure there is a
relationship.


>It seems that the trend in rescaling is often to add tension to the upper
>regions of the piano, especially Steinways.

Among, but not exclusive of other concerns. Sometimes a lot of other
concerns.


>Does a higher tension scale call for a larger or harder hammer necessarily?
>
>David Love

No, by my criteria of what constitutes good piano tone, but hammer choice
is secondary to the relationship between the string scaling and the
soundboard assembly design. Hammer choice and voicing can only give you up
to, but not beyond, what the soundboard and string scaling have to give.
Consequently, hammer choice and voicing is a process of minimizing
detriment.

Ron N

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