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Your point about whole wire size changes is well taken, but it really applies only to the lowest part of the tenor bridge and then only when the bridge has been foreshortened a fair amount. The rest of the scale is generally better off using half-sizes.
Half-sizes may be better lower in the tenor, but without adding more hitch pins, one must take an average. The point is that to get a better scale, you usually have to change gauges more often the lower in the scale.

This is a comparison of the before (top) and after tensions on the last piano that I restrung. The lowest notes, on the left of the graphs, are the highest wound strings. The first pair of plain strings are 2 full sizes heavier than the next pair. But it still should be evident which should be the more even scale. (The peak at note 87 is probably just the result of a slight inaccuracy in the measurement of the speaking length.)

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Interesting graphs, BDB. Can you characterize the change in sound from the revised scaling?

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Not exactly, because it would be comparing old strings with new ones. Still, there are some trends. The biggest difference is less of a fall-off of volume as you approach the break. There are some pianos that have a great deal of inharmonicity near the break, and scaling this way improves that problem greatly. They are much easier to tune. Some scales have problem areas which clear up. Of course, with more uniform tension, the piano stays in tune better.

I suspect that problems with what people characterize as the "killer octave" may be the result of bad scaling in that area. As you can see in the top graph, the tension was extremely high in that area, meaning the strings were very thick for their length. That cannot be good.

This piano has the original soundboard and bridge, about 80 years old. The work was done on-site, eliminating moving costs. The question of the effect of soundboard design on sound is much more difficult. Rescaling takes just a couple of hours to measure the speaking length and stare at the numbers to come up with something reasonable. That is cheap enough to do even for a small improvement. Replacing the soundboard would double the cost of restoration with no guarantee that there will be a significant improvement. That makes no sense.


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Thanks BDB, very interesting......one of the big decisions I had to make was whether or not to keep the original, already repaired soundboard and bridges. In the end, we kept it, because it had excellent sustain, good crown, and the piano sounded very good as it was....one of those cases where it made no sense to replace it since it was functioning properly.

The fellow I received the original scale from said one of the important factors was to get the core wire diameter correct, and that seems to be part of what your saying here as well, in order to get a good and even sounding scale.

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No, I have not delved into bass string design. Again, too many factors to be certain of the results. For the most part, the bass string manufacturers know their business fairly well, often better than the piano designers.


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Originally posted by BDB:
...
I suspect that problems with what people characterize as the "killer octave" may be the result of bad scaling in that area. As you can see in the top graph, the tension was extremely high in that area, meaning the strings were very thick for their length. That cannot be good.

This piano has the original soundboard and bridge, about 80 years old. The work was done on-site, eliminating moving costs. The question of the effect of soundboard design on sound is much more difficult. Rescaling takes just a couple of hours to measure the speaking length and stare at the numbers to come up with something reasonable. That is cheap enough to do even for a small improvement. Replacing the soundboard would double the cost of restoration with no guarantee that there will be a significant improvement. That makes no sense.
While many pianos do, indeed have relatively poor scaling through the fifth and sixth octaves, many more do not. The abnormally percussive attack coupled with a too rapid drop-off is a soundboard issue. It is not something that can be solved by either scaling or hammer voicing.

Soundboard replacement—when necessary—does solve the problem and the results are quite predictable. Assuming the shop doing the replacement knows what it is doing, of course.

Del


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Originally posted by BDB:
No, I have not delved into bass string design. Again, too many factors to be certain of the results. For the most part, the bass string manufacturers know their business fairly well, often better than the piano designers.
Most string winders, such as Mapes, follow factory specifications pretty closely. They will custom wrap, but they clearly don’t want to. Others, GC Strings in Canada among them, wrap to their own specifications which may or may not follow factory specifications. If you order from them you get what they want to wrap with little say in the matter.

There are several other string winders — Jim Arledge is one of them — who can help with bass string scaling if this is not something you want to do. As well, there are several rebuilders who offer string scale calculation as part of their business.

Bass string scaling is not all that difficult to learn and many improvements can be made here. Essentially is it a question of working out the ratio between core wire diameters and overall loading to achieve a desired balance in between string tensions, string impedance and inharmonicity.

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Delwin D Fandrich
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Soundboard replacement—when necessary—does solve the problem and the results are quite predictable. Assuming the shop doing the replacement knows what it is doing, of course.
I suspect that almost everyone who replaces soundboards knows nothing about the design of them, and just replaces with a copy of the original. How many people do you think there are in the world who could do otherwise? (And do they agree on the solution?)

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Most string winders, such as Mapes, follow factory specifications pretty closely.
I suspect that they follow industry standards. However, factory specifications are not likely to be available for enough pianos that they would have to be able to design strings on their own very quickly.


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I found this website very informative:

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FAQ's about Sanderson Accu-Strings


I have a Steinway O ( or some other piano), do I need to measure the piano to order replacement strings? Easily the most commonly asked question, and the answer is yes. In a perfect world, the same model of piano from the same manufacturer would have the same measurements. However, even the finest piano models vary from piano to piano with regard to speaking length. This variance is enough to drastically effect the sound quality if the wrong measurements are used. To get the best possible sound, we design and manufacture our strings using measurements taken from YOUR piano, not someone else's. (A fine example would be the Mason & Hamlin AA, which varies by as much as 1.5 centimeters in the bass speaking lengths, even for the same model year.)

Why rescale my piano? If your piano has been rebuilt it has already been inadvertently rescaled. Present methods of string duplication make it virtually impossible to get strings remade to the manufacturer's original specification. We rescale to our original aural and mathematical standards to give you an optimum set of new bass strings.

Was my scale perfect? The original scale was done by trial and error prior to the days of computer enhancement. Depending on the manufacturer and model, the amount of attention to scale design varied greatly. Some old scales are in fact virtually perfect, but most can be improved.

Can a computer generate a perfect scale? While the beauty of a scale is determined by ear, duplication of that beauty can be translated from piano to piano by today's formulations. We can define the parameters of good piano sound, the proper mixture of tension and inharmonicity, thus finding each note's "sweet spot".

Does good sound have a mathematical component? Superb piano sound, mathematically speaking, is a balance between string tension and inharmonicity. Mathematics helps us arrive at the optimum values for each of these by helping us choose the ideal core wire size (inharmonicity), and the ideal copper build-up (tension). Both of these values are calculated to match the note's speaking length.

What about the bare lengths? The bare lengths (the core wire in the speaking section which has no copper) are a critical factor in the string's inharmonicity. Typically, with each replacement set of bass strings, a string winder will increase these bare lengths as a "margin of safety". By a second rebuild, the string winders hay have added over an inch of unwanted bare length to each string at both ends. They do this to insure that your new strings will fit, unaware of the disastrous effect on the piano's inharmonicity.

What about the different sizes of wire and wrap? It is essential for the best results in string design that the string winder have all of the size options for both copper and steel wire. Few string winders have all of the size options for both copper and steel wire. We do! If the string winder does not have all of the sizes, then he must redesign and substitute. Is this the right way to get the best job possible?

Will rescaling solve my tonal problems? Properly scaled and accurately constructed strings will sound great! Learn to ask, "Do these strings have a pleasant sound?" After all, what else should be the ultimate test? If a bass string does not pass this test, even on a light blow, then something is wrong with that string and it should be replaced. That's the only cure. We guarantee our strings will sound great.
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Seems like piano as a hobby has bacome science of physucs.

I just wonder how many older pinos soun fantastic in my ears, and new also, despite the obvious imperfections in their design.

Like Bechstein claims - "we don not make techncal instruments, but musical, good sounding, pianos".

And, as pointed out above, some problems are not due to bad scaling, but are sound board issues.

The soundboard is the soul the piano (Vincent Chavanne). I have heard that the result soundboard replacement is very hard to predict.

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I have a question...would a properly designed bass string scale have an effect on the overall sound of the piano in relation to what the rest of the strings are doing? Is there a synergy involved?

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Originally posted by BDB:
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Soundboard replacement—when necessary—does solve the problem and the results are quite predictable. Assuming the shop doing the replacement knows what it is doing, of course.
I suspect that almost everyone who replaces soundboards knows nothing about the design of them, and just replaces with a copy of the original. How many people do you think there are in the world who could do otherwise? (And do they agree on the solution?)

Quote
Most string winders, such as Mapes, follow factory specifications pretty closely.
I suspect that they follow industry standards. However, factory specifications are not likely to be available for enough pianos that they would have to be able to design strings on their own very quickly.
I have no idea how many rebuilding shops there are world-wide that are competent enough to replace soundboards. I expect there are probably fifty or so in the U.S. And, as pianos continue to age, the number is growing. You might check out the upcoming PTG Conference in Rochester, NY which will have quite an emphasis on soundboard technology.

Mapes has the original bass string scaling for a vast number of U.S. built (and quite a few imported) pianos. If they don’t have the original scale they fake it by using one that is similar. At least that has been their past practice. It may have changed in the past several years. We purchase all of our steel wire from them but we no longer use their bass strings.

Del


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Originally posted by Jan-Erik:
The soundboard is the soul the piano (Vincent Chavanne). I have heard that the result soundboard replacement is very hard to predict.
So I've heard.

When I started to investigate the soundboard and its function one of the first things I was told was that soundboard performance was difficult to predict. And now one really knew why. This was almost regarded as the holy grail of the piano business. The more I learned, however, the more I found that only certain types of soundboard systems are unpredictable; those that are purely compression-crowned. That is, those that depend entirely on the internal, perpendicular-to-grain expansion and compression of the wood grain to form and hold crown. Others, specifically those that depend on curved ribs for their crown, are both more predictable and longer-lived.

There are rebuilding shops using both methods. Those using compression-crowning techniques maintain tight controls over their process and produce work that is at least as consistent as that of the manufacturers still using compression-crowned soundboard systems. (At least those that I am familiar with do.) Those shops using rib-crowning techniques (and we are among them) also maintain tight control over the whole process. It is a bit easier to predict results because we do not depend quite so much on the variable qualities of wood.

I suppose if one is working with a shop that is installing its first soundboard assembly — assuming the person in charge has not bothered to take advantage of the vast amount of training and information now available — the results might be unpredictable. But, of course, the same thing could be said of a shop installing its first set of hammers or wippens. Or doing its first restringing job. Or to the tuner doing his or her first tuning or voicing job.

Del


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I was not asking about replacing soundboards per se. I was asking about people who can redesign and replace soundboards. It sounds like your shop could well be the only one in the US that can redesign a soundboard, Del.


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Originally posted by BDB:
I was not asking about replacing soundboards per se. I was asking about people who can redesign and replace soundboards. It sounds like your shop could well be the only one in the US that can redesign a soundboard, Del.
Ah, well...I don't really know. I'd like to think there are at least a few out there. If for no other reason than I've been teaching this stuff for a fair number of years now. I hope it's not all gone to waste.

Del


Delwin D Fandrich
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