With respect to bass strings not holding up under storage, there was an interesting thread a while back on Pianotech, which unfortunately got caught up in Bradley Snook issues, that touched on this question quite a bit. Here is a quote from Francisco Motta, a Brazilian tech who makes his own bass strings with a pretty fancy machine that allows him to control the tension pretty precisely while winding (he really is bad at English, relying on Google translate or something, so try to figure out what a few of the words might have got mangled from):
I'll get into this conversation, although difficulties with perfect English.
I have reflected on this topic a few months, and also threw this issue,
related to the manufacturing tension, string bass.
I think this is the main secret of the string quality.
I have made bass strings and since built a machine with control of
stretching (as well as a constant stretch), I managed to make amazing
strings.
My logic is as follows:
If the tension of manufacturing is up to 5% below the nominal tension on
the piano:
Excellent work, but must be installed immediately.
If the tension is 20% less:
Stock a few days and do not give ties to save
If the tension is 40% lower:
Stock more time (orverseas shippings for example) and give two or three
turns in the instalation.
The thread, should anyone care to wade through it, is http://my.ptg.org/communities/community-home/digestviewer/viewthread?GroupId=43&MID=647846&tab=digestviewer#bm9 The general conclusion, on that particular topic, seems to be that some bass string makers (probably Heller among them) tend to wind strings at a high tension. This gives better tonal results, but only if you install them pretty promptly. So if you aren't going to install them so promptly, it might be better to get strings wound at a lower tension. I guess this has to do with elongation of the core wire during the high tension winding process, and subsequent relaxation, which affects how the windings hold to the core, or how they are spaced or something.
An open question (for me) is what are the procedures of the various bass string makers: who winds at high tension, who at lower tension, to what extent to they tailor that tension to the actual tension at pitch, etc. (in the etc. category, my guess is that Arledge puts a twist into the string before winding, hence the "no rattles" motto - the original twist serving to tend to pull the windings tighter, eliminating the need to twist).
Complex subject, and there doesn't seem to be a lot of clarity or truly reliable information out there.
------------------------------
Fred Sturm
University of New Mexico
fssturm@unm.eduhttp://fredsturm.nethttp://www.artoftuning.com"We either make ourselves happy or miserable. The amount of work is the same." - Carlos Casteneda
Original Message:
Sent: 11-25-2015 13:28
From: Horace Greeley
Subject: Storing spare bass strings..
Sheldon Smith experimented with pre-stretching strings some time ago;
and used them when stringing. That's not the same as trying to do that
under tension for storage purposes, but, he was (generally) pleased with
the results. If I can remember the jig that he had set up for that,
I'll try to describe it. No, no pictures...so, don't ask.
Kind regards.
Horace
On 11/25/2015 9:30 AM, Jon Page via Piano Technicians Guild wrote:
> Please do not forward this message due to Auto Login.
>
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> Why not store them under tension. Not to pitch but it would shorten the stretching time. Wire could be positioned on both sides of a plank to equalize the tension on the panel.
> ------------------------------
> Regards,
>
> Jon Page
> -------------------------------------------------------------------------
> Original Message:
> Sent: 11-25-2015 12:04
> From: Kathy Smith
> Subject: Storing spare bass strings..
>
> Hi, Michael,
>
> Yes, that was my understanding too, that wound bass strings do not have a long shelf life. But I still had a set of spare bass strings set aside for my performance instruments, stored straight and protected as described. On a few rare occasions, when a bass string would break, it was good to be able to pull one out of the set and put it on quickly. The sound didn't entirely match the others, probably based on age and use of the remainder of the set on the piano (since the maker of the new one was the same), but I could voice around the problem and get it to match. It helped me several times, maybe it might help someone else.
>
> Kathy
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