[pianotech] GH-1s

[Jim Ialeggio]

David and Ron,

Thanks for the well reasoned responses.

On the structural end of the discussion, ie the details of rib scaling, 
bridge placement and end of bridge extensions, float, thinning or not, 
etc. , my string tension, and BP%via wire tensile strength experiments 
confirmed this part of the discussion. Areas of the board that had 
strategic errors were still areas that structural strategic errors. 
Working the structure appropriately remains in my experience, and, as 
you have described, yours as well, key to giving the system register 
appropriate mobility or restraint as needed.

Regarding the string scale, I remain in experimental mode. There may or 
may not be useful information turned up, but without messing about one 
doesn't know. I do know, though, at this point, that my messing about 
with the wire tensile strength, tension and BP%, along with more normal 
speaking length adjustments in relation to backscale, cross break length 
adjustments, etc, that a very nice sounding piano can be had, warnings 
of dire consequences notwithstanding.  This in and of itself leads me to 
question some of the accepted wisdom regarding the requirements of good 
scaling. Not that the current scaling goals are incorrect, but rather 
that they may be one way among others of achieving a good sounding scale.

I also know that wires of lower tensile strength are not new, and were 
in fact part of the tonal palette ( along with higher ratios and softer 
lighter hammers) in earlier modern pianos. Some of my experimenting is a 
direct response to hearing how the tonal palette, in certain earlier 
pianos, though less powerful throughout, especially in the bass, gave a 
clarity to registration, and differentiation that is absent in the 
modern piano. In these instruments, as a member of the audience in a 
small venue concert, I experience the "lack of power", but accompanying 
differentiation as a decided advantage rather than a detriment.

On the other hand, levels of sustain in the treble of a well designed 
modern piano are to my ear quite attractive. So my take as a musician as 
well as a redesigner is what can I do to get some of the best of both of 
these worlds. I remain, as I said, in experimental mode, with thoroughly 
musical and professional results coming out of in-process rebuilds.

When experimenting, my hypotheses are generated, by seeing something 
which to me is as intuititively obvious as a "duhh". Then I go back and 
put the apparently obvious to the test and see if it remotely matches 
the reality of the built system.  I ain't no rocket scientist for sure, 
but in piano work, after a lifetime of designing and tweaking wooden 
structures, I see so many "duhh's" that I don't implicitly trust any 
received or conventional wisdom on what is appropriate or acceptable...I 
test it all, in relation to my aesthetic goals in piano sound.

Specifically regarding this conversation, using lower tensile strength 
wires as a design tool to adjust BP% where modern wire will not allow 
that flexibility is for me one of those "duhh's".

Jim Ialeggio





-- 
Jim Ialeggio	
jim at grandpianosolutions.com
978 425-9026
Shirley Center, MA