Try this as a thought tool:
1) As the wire comes closer and closer to its breaking point, its behavior becomes closer and closer to "perfect;" i.e. the inharmonicity approaches zero so that the wire can convert the chaos of displacement into a perfectly harmonious sound, and it requires relatively greater changes in tension to produce a noticeable change in pitch. [Imagine inharmonicity as "harmonic disagreement" in the moving wire.]
2) Now reverse the idea and compare it to what you experience in the lowest plainwire notes: As the tension of the wire drops further and further from the breaking tension, inharmonicity increases, the sound becomes weak and erratic as the "harmonic disagreement" in the wire behavior becomes greater. The wire cannot co-ordinate its partials in a way to move the soundboard vigorously and musically. The perceived pitch of the note changes noticeably with small changes of tension.
There is a range of % of breakpoint tension which gives a familiar "piano sound," and reduces the chance of wire breakage to minimum. Historically, people have accepted surprisingly awful sound at the low tenor break. I don't think 1920s Steinway pianos were any better about this than they are today. Bechstein produced a 5 foot piano in the 1920s with a plainwire B2, dreadful sound, but if you tune carefully the owner doesn't seem to notice because they are used to it.
Paullelo wire is the first practical solution to this problem, and the results are stunning. Visit Paullelo's website to learn more. It has a spread sheet with which you can analyze and calculate the best possible Paullelo scale for any piano. <http://www.stephenpaulello.com/en/cordes>
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Ed Sutton
ed440@me.com(980) 254-7413
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Original Message:
Sent: 09-10-2021 19:17
From: Joe Wiencek
Subject: Paulello wire
Thanks for clarifying that bit about BP % Jim. I realize I didn't think very carefully about the tension and wire diameters before posting the question. Is it the increase of mass in the wrapped strings that contributes to them being more stable through seasonal or humidity changes (compared with their neighboring plain wires?)
Joe
Original Message:
Sent: 9/10/2021 12:44:00 PM
From: Jim Ialeggio
Subject: RE: Paulello wire
There is no difference in tension between the different types of Paullelo wire and Mapes or Rosalu of the same diameter. The tension remains the same.
The Bp% changes.
I almost always use Paullelo types 1 for a few notes in the low tenor and type O up to the mid alto. The lower tensile strength type 1, when appropriate according to the BP% reading, will be more stable, and, in my experience, the tone will be superior. My low trebles are consistently some of the nicest parts of my scales, tone-wise...this is in numerous pianos or different makers, and over a number of years. PLus, very often, it eliminates the need (not always, though) for wrapps in the low tenor, which I try to avoid as much as I can. I want to hear plain wire trichords down there.
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Jim Ialeggio
grandpianosolutions.com
Shirley, MA
978 425-9026
Original Message:
Sent: 09-10-2021 11:21
From: Joe Wiencek
Subject: Paulello wire
I have been fascinated reading a recent thread discussing the use of Paulello wire particularly in the tenor sections. If if I understand correctly, the Paulello wire is higher tension than Mapes or Roslau? I wonder if those who have installed Paulello wire notice any difference in pitch stability in the low tenor compared with the above brands?
My reason for this question comes from observation that low tenor plain wires always react more to environmental changes than the wound wires (higher tension?) located side by side on the bridge. When plain wires are the only ones on the tenor bridge, I observe that the lowest wires are the most affected by environmental changes.
Anyone care to comment?
Joe Wiencek
NYC