[pianotech] finding the strike line

[Delwin D Fandrich]

There will be a moderate drop in inharmonicity at the transition between the
plain steel strings and the double wrapped strings but usually not at the
bass/tenor break. That can be dealt with by the careful manipulation of the
diameter of the core and diameter of the wrap.
 
ddf


  _____  

From: pianotech-bounces at ptg.org [mailto:pianotech-bounces at ptg.org] On Behalf Of
David Love
Sent: February 10, 2009 5:52 AM
To: pianotech at ptg.org
Subject: Re: [pianotech] finding the strike line



Doing it this way then I gather you are accepting a slight drop in inharmonicity
in the transition section with a  subsequent rise again in the first bichord
section of the bass.  What kind of bump there do you accept  (4th partial
change)?

 

David Love

www.davidlovepianos.com

 

From: pianotech-bounces at ptg.org [mailto:pianotech-bounces at ptg.org] On Behalf Of
Delwin D Fandrich
Sent: Monday, February 09, 2009 1:16 PM
To: pianotech at ptg.org
Subject: Re: [pianotech] finding the strike line

 



| -----Original Message-----
| From: pianotech-bounces at ptg.org
| [mailto:pianotech-bounces at ptg.org] On Behalf Of David Love
| Sent: February 09, 2009 12:26 PM
| To: pianotech at ptg.org
| Subject: Re: [pianotech] finding the strike line
|
| Do you typically find, then, that when changing to a
| transition bridge that there is a maximum percentage
| reduction in speaking length that you are willing to
| undertake in order that the change in SPR doesn't result in
| too dramatic a change in the tone in that section?  It seems
| that the smoothest transitions (at least on paper) require
| quite significant reductions in speaking length in the
| transitions.  More modest changes which likely would have
| less impact on the SPR seem to mean compromises in the
| scaling through that section--though, I guess, not as much of
| a compromise as the original which caused one to consider the
| change in the first place. 
|
| David Love
| www.davidlovepianos.com

Every so often I still hear some piano marketing guru going on about how this
new Peerless Model Exceptionale Grand has been designed and constructed "without
compromise." What it tells me is that the guru simply does not understand either
piano design or piano construction. 

Pianos, like most other things in life, are a product of compromise. And this is
certainly true where retrofitting transition bridges to existing pianos is
concerned. 

I use the smallest percentage change in speaking length on a transition bridge
that I can get by with to give me an acceptable timbrel blend. More and more I
am using the configuration shown in the attached photograph. A compromise?
Certainly! But I find I can achieve an acceptable timbrel blend at the expense
of only a moderate jump in inharmonicity. The benefit is that it doesn't stand
out aesthetically. Many prospective purchasers don't even notice that it doesn't
look quite original; just that it sounds immensely better.

ddf

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