Floyd, if you were to have three unisons of equal speaking length, same guage, and tuned to exactly the same pitch; and the only difference was that each was of a differing wire type with different breaking strengths (such as Types 1, O, and M) they would each sound different. Stephen's research has shown that there is no difference in inharmonicity. The material compositions are different between the three, although how this is done is not publically available information. If you change the gauge size, then you will have more familiar results
I can't be helpful to you in a technical way, I can only say that the wire does sound different, even the M type, which is the closest equivalent to Roslau or Mapes. The blending is beautiful, and I think the finest wire in the world.
It's not that we should not pay any attention to tension when doing hybrid scaling. And we should attend to inharmonicity also. The most difficult thing for people to grasp when coming from the traditional way of scaling, prioritizing tension or inharmonicity, is that breaking percentage will have more effect on tonal change than these other factors. The essence of it is that there is a goldilocks zone of optimal tone that is related to a range of BP% (PBL% as Paulello calculates it). This PBL% will vary depending where you are in the scale, being optimal at 50% in the low bass to about 60% at the top, first plain wire at about 50% going up to about 75% at note 88.
In my own rescaling, I strive for the most even transitions of PBL% at or near the targets by changing wire types and gauges (wraps also in the bass), Sometimes I modify the SPL. I pay attention to tension and inharmonicity as I go along, and loudness as well. I may make small changes based on these considerations.
If one were to look at my graphs of tension and inharmonicity, they usually won't be quite as smooth as they would be if I had prioritized T or IH. But they will sound more even and blended, nonetheless. And they will sound much better in the problem areas of the scale. And the piano as a whole will sound more balanced and more of one voice.
When one listens to the final product of a good hybrid rescaling, it is obvious to even the casual ear that there is very considerable improvement.
You have a no great shakes grand to rescale. It is a perfect candidate to spread your wings on, and you will be surprised at how much change you can effect.
Will
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William Truitt
Bridgewater NH
603-744-2277
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Original Message:
Sent: 12-09-2017 00:56
From: Floyd Gadd
Subject: Tensile strength and inharmonicity
In a system where all other factors remain constant, does substituting low-tensile-strength wire (e.g. Paulello) result in a change of inharmonicity?
I read of improvements to the sound in regard to hybrid scaling, but as I read what Paulello says, the concepts of minimizing internal amortization and achieving good spectral balance are identified as the key elements at play.
I understand that inharmonicity varies inversely with tension in a system where wires are of the same grade of material. If changing the tensile strength of the wire, thus setting the string at a different percentage of its breaking point, does not significantly influence inharmonicity, I have at least one factor for rationalizing tension choices in a stringing design. If, however, inharmonicity does vary with changes in tensile strength, I need to learn how the relationship works.
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Floyd Gadd
Regina SK
306-502-9103
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