Pianotech

Paulello has a S&S B scale on his site. It's a bit hard to find on there, they'll happily send you the link, just ask.

Keith,

What I have done several times now is change to type 0 up to about halfway through the #17 wire range, finding a convenient changeover point to my usual wire Mapes International Gold, and take that to the top.  However, since the Paulello is metric I step the metric sizes up one size to more closely resemble the American gauge. 

On one B I think I recall stepping up another size for the first three notes in the tenor with Puresound SS wire, then on to Paulello, then Mapes. Of course if you have all Paulello wire you'd probably use type M instead of the Mapes. 

Pretty much seat of the pants type stuff here. But it's turned out pretty good so far.

Peter Grey Piano Doctor 

Paulello has a S&S B scale on his site. It's a bit hard to find on there, they'll happily send you the link, just ask.

Keith,

What I have done several times now is change to type 0 up to about halfway through the #17 wire range, finding a convenient changeover point to my usual wire Mapes International Gold, and take that to the top.  However, since the Paulello is metric I step the metric sizes up one size to more closely resemble the American gauge. 

On one B I think I recall stepping up another size for the first three notes in the tenor with Puresound SS wire, then on to Paulello, then Mapes. Of course if you have all Paulello wire you'd probably use type M instead of the Mapes. 

Pretty much seat of the pants type stuff here. But it's turned out pretty good so far.

Peter Grey Piano Doctor 

Paulello has a S&S B scale on his site. It's a bit hard to find on there, they'll happily send you the link, just ask.

So far this tactic has worked very well on this model...and other SS scales too. 

Peter Grey Piano Doctor 

Keith,

What I have done several times now is change to type 0 up to about halfway through the #17 wire range, finding a convenient changeover point to my usual wire Mapes International Gold, and take that to the top.  However, since the Paulello is metric I step the metric sizes up one size to more closely resemble the American gauge. 

On one B I think I recall stepping up another size for the first three notes in the tenor with Puresound SS wire, then on to Paulello, then Mapes. Of course if you have all Paulello wire you'd probably use type M instead of the Mapes. 

Pretty much seat of the pants type stuff here. But it's turned out pretty good so far.

Peter Grey Piano Doctor 

Paulello has a S&S B scale on his site. It's a bit hard to find on there, they'll happily send you the link, just ask.

I don't think I would up the Paulello wire gauge 1/2 size as that would raise the Inharmonicity. I'll attempt to upload that Paulello Stein B chart.

So far this tactic has worked very well on this model...and other SS scales too. 

Peter Grey Piano Doctor 

Keith,

What I have done several times now is change to type 0 up to about halfway through the #17 wire range, finding a convenient changeover point to my usual wire Mapes International Gold, and take that to the top.  However, since the Paulello is metric I step the metric sizes up one size to more closely resemble the American gauge. 

On one B I think I recall stepping up another size for the first three notes in the tenor with Puresound SS wire, then on to Paulello, then Mapes. Of course if you have all Paulello wire you'd probably use type M instead of the Mapes. 

Pretty much seat of the pants type stuff here. But it's turned out pretty good so far.

Peter Grey Piano Doctor 

Paulello has a S&S B scale on his site. It's a bit hard to find on there, they'll happily send you the link, just ask.

Tremaine,

My goal is to match (as closely as reasonably possible) the original scale but improve the wire performance in the low tenor. 

Peter Grey Piano Doctor 

I don't think I would up the Paulello wire gauge 1/2 size as that would raise the Inharmonicity. I'll attempt to upload that Paulello Stein B chart.

So far this tactic has worked very well on this model...and other SS scales too. 

Peter Grey Piano Doctor 

Keith,

What I have done several times now is change to type 0 up to about halfway through the #17 wire range, finding a convenient changeover point to my usual wire Mapes International Gold, and take that to the top.  However, since the Paulello is metric I step the metric sizes up one size to more closely resemble the American gauge. 

On one B I think I recall stepping up another size for the first three notes in the tenor with Puresound SS wire, then on to Paulello, then Mapes. Of course if you have all Paulello wire you'd probably use type M instead of the Mapes. 

Pretty much seat of the pants type stuff here. But it's turned out pretty good so far.

Peter Grey Piano Doctor 

Paulello has a S&S B scale on his site. It's a bit hard to find on there, they'll happily send you the link, just ask.

ABACUS © https://www.arnopianos.com/price-list

Paullelo

Paulello's official website also has a calculation table

https://www.stephenpaulello.com/en/typogramme

Keith,

I just revised a Model L scale according to my "seat-of-the-pants" style (though I do have some proprietary software to assist me). It incorporates some Paulello wire and puresound wire, and some "stepping up" of certain gauges. When the piano is finished I'll give you a report on success or failure. If a complete success it may be of assistance to you. 

Peter Grey Piano Doctor 

ABACUS © https://www.arnopianos.com/price-list

Paullelo

Paulello's official website also has a calculation table

https://www.stephenpaulello.com/en/typogramme

Keith,

I just revised a Model L scale according to my "seat-of-the-pants" style (though I do have some proprietary software to assist me). It incorporates some Paulello wire and puresound wire, and some "stepping up" of certain gauges. When the piano is finished I'll give you a report on success or failure. If a complete success it may be of assistance to you. 

Peter Grey Piano Doctor 

ABACUS © https://www.arnopianos.com/price-list

Paullelo

Paulello's official website also has a calculation table

https://www.stephenpaulello.com/en/typogramme

No one has mentioned the use of type 1 Paulello wire at the bottom of the tenor, although you will see it on Paulello's own scaling for a Steinway B.  No one has mentioned breaking percentage (as in Paulello's Practical Breaking Load (PBL)) despite the fact that it is the foremost consideration in hybrid scaling and the guiding principle. I virtually always use Type 1 in the low tenor because it raises the breaking percentages to the target percentage of best tone, and best serves to break the break to the top bass note.

------------------------------
William Truitt RPT
Bridgewater NH
(603) 744-2277

Original Message:
Sent: 08-27-2024 10:04
From: Keith Akins
Subject: S&S "B" rescale...

Original Message:
Sent: 8/27/2024 9:04:00 AM
From: Peter Grey
Subject: RE: S&S "B" rescale...

Keith,

I just revised a Model L scale according to my "seat-of-the-pants" style (though I do have some proprietary software to assist me). It incorporates some Paulello wire and puresound wire, and some "stepping up" of certain gauges. When the piano is finished I'll give you a report on success or failure. If a complete success it may be of assistance to you. 

Peter Grey Piano Doctor 

------------------------------
Peter Grey
Stratham NH
(603) 686-2395
pianodoctor57@gmail.com

Original Message:
Sent: 08-15-2024 04:30
From: Zhanxi Huang
Subject: S&S "B" rescale...

ABACUS © https://www.arnopianos.com/price-list

Paullelo

Paulello's official website also has a calculation table

https://www.stephenpaulello.com/en/typogramme

------------------------------
Zhanxi Huang
Benxi
86-18741420582

Original Message:
Sent: 08-11-2024 11:04
From: Keith Akins
Subject: S&S "B" rescale...

Keith,

I just revised a Model L scale according to my "seat-of-the-pants" style (though I do have some proprietary software to assist me). It incorporates some Paulello wire and puresound wire, and some "stepping up" of certain gauges. When the piano is finished I'll give you a report on success or failure. If a complete success it may be of assistance to you. 

Peter Grey Piano Doctor 

ABACUS © https://www.arnopianos.com/price-list

Paullelo

Paulello's official website also has a calculation table

https://www.stephenpaulello.com/en/typogramme

Peter,

Today I destrung an L.  There were  12 #17 unisons and 8 #18, but no 17 1/2 or 18 1/2.  I would love to hear suggestions on better stringing scales for this.

Keith,

I just revised a Model L scale according to my "seat-of-the-pants" style (though I do have some proprietary software to assist me). It incorporates some Paulello wire and puresound wire, and some "stepping up" of certain gauges. When the piano is finished I'll give you a report on success or failure. If a complete success it may be of assistance to you. 

Peter Grey Piano Doctor 

ABACUS © https://www.arnopianos.com/price-list

Paullelo

Paulello's official website also has a calculation table

https://www.stephenpaulello.com/en/typogramme

You could take the bottom 6 notes of your course of # 17 and change to # 17 1/2 That would be notes 35 through 40

You could also do notes 27 and 28 in Paulello Type 1 and notes 29 through 34 in Paulello Type 0

There is slightly lower tension if you are stringing with Roslau or Mapes Intl Gold as they are Metric and slightly smaller in diameter. Some Techs go up a 1/2 gauge size across the board when converting from decimal to metric. I personally do not as it is easier for me to think in the same gauge numbers.

Peter,

Today I destrung an L.  There were  12 #17 unisons and 8 #18, but no 17 1/2 or 18 1/2.  I would love to hear suggestions on better stringing scales for this.

Keith,

I just revised a Model L scale according to my "seat-of-the-pants" style (though I do have some proprietary software to assist me). It incorporates some Paulello wire and puresound wire, and some "stepping up" of certain gauges. When the piano is finished I'll give you a report on success or failure. If a complete success it may be of assistance to you. 

Peter Grey Piano Doctor 

ABACUS © https://www.arnopianos.com/price-list

Paullelo

Paulello's official website also has a calculation table

https://www.stephenpaulello.com/en/typogramme

You could take the bottom 6 notes of your course of # 17 and change to # 17 1/2 That would be notes 35 through 40

You could also do notes 27 and 28 in Paulello Type 1 and notes 29 through 34 in Paulello Type 0

There is slightly lower tension if you are stringing with Roslau or Mapes Intl Gold as they are Metric and slightly smaller in diameter. Some Techs go up a 1/2 gauge size across the board when converting from decimal to metric. I personally do not as it is easier for me to think in the same gauge numbers.

Peter,

Today I destrung an L.  There were  12 #17 unisons and 8 #18, but no 17 1/2 or 18 1/2.  I would love to hear suggestions on better stringing scales for this.

Keith,

I just revised a Model L scale according to my "seat-of-the-pants" style (though I do have some proprietary software to assist me). It incorporates some Paulello wire and puresound wire, and some "stepping up" of certain gauges. When the piano is finished I'll give you a report on success or failure. If a complete success it may be of assistance to you. 

Peter Grey Piano Doctor 

ABACUS © https://www.arnopianos.com/price-list

Paullelo

Paulello's official website also has a calculation table

https://www.stephenpaulello.com/en/typogramme

What would be the effect of going up to 18 1/2 on the last 4 or even 19 on the last two unisons (on an L)?

------------------------------
Blaine Hebert RPT
Duarte CA
(626) 390-0512

Original Message:
Sent: 08-28-2024 09:31
From: Tremaine Parsons
Subject: S&S "B" rescale...

You could take the bottom 6 notes of your course of # 17 and change to # 17 1/2 That would be notes 35 through 40

You could also do notes 27 and 28 in Paulello Type 1 and notes 29 through 34 in Paulello Type 0

There is slightly lower tension if you are stringing with Roslau or Mapes Intl Gold as they are Metric and slightly smaller in diameter. Some Techs go up a 1/2 gauge size across the board when converting from decimal to metric. I personally do not as it is easier for me to think in the same gauge numbers.

------------------------------
Tremaine Parsons RPT
Georgetown CA
(530) 333-9299

Original Message:
Sent: 08-28-2024 01:22
From: Blaine Hebert
Subject: S&S "B" rescale...

Peter,

Today I destrung an L.  There were  12 #17 unisons and 8 #18, but no 17 1/2 or 18 1/2.  I would love to hear suggestions on better stringing scales for this.

------------------------------
Blaine Hebert RPT
Duarte CA
(626) 390-0512

Original Message:
Sent: 08-27-2024 09:04
From: Peter Grey
Subject: S&S "B" rescale...

Keith,

I just revised a Model L scale according to my "seat-of-the-pants" style (though I do have some proprietary software to assist me). It incorporates some Paulello wire and puresound wire, and some "stepping up" of certain gauges. When the piano is finished I'll give you a report on success or failure. If a complete success it may be of assistance to you. 

Peter Grey Piano Doctor 

------------------------------
Peter Grey
Stratham NH
(603) 686-2395
pianodoctor57@gmail.com

Original Message:
Sent: 08-15-2024 04:30
From: Zhanxi Huang
Subject: S&S "B" rescale...

ABACUS © https://www.arnopianos.com/price-list

Paullelo

Paulello's official website also has a calculation table

https://www.stephenpaulello.com/en/typogramme

------------------------------
Zhanxi Huang
Benxi
86-18741420582

Original Message:
Sent: 08-11-2024 11:04
From: Keith Akins
Subject: S&S "B" rescale...

What would be the effect of going up to 18 1/2 on the last 4 or even 19 on the last two unisons (on an L)?

You could take the bottom 6 notes of your course of # 17 and change to # 17 1/2 That would be notes 35 through 40

You could also do notes 27 and 28 in Paulello Type 1 and notes 29 through 34 in Paulello Type 0

There is slightly lower tension if you are stringing with Roslau or Mapes Intl Gold as they are Metric and slightly smaller in diameter. Some Techs go up a 1/2 gauge size across the board when converting from decimal to metric. I personally do not as it is easier for me to think in the same gauge numbers.

Peter,

Today I destrung an L.  There were  12 #17 unisons and 8 #18, but no 17 1/2 or 18 1/2.  I would love to hear suggestions on better stringing scales for this.

Keith,

I just revised a Model L scale according to my "seat-of-the-pants" style (though I do have some proprietary software to assist me). It incorporates some Paulello wire and puresound wire, and some "stepping up" of certain gauges. When the piano is finished I'll give you a report on success or failure. If a complete success it may be of assistance to you. 

Peter Grey Piano Doctor 

ABACUS © https://www.arnopianos.com/price-list

Paullelo

Paulello's official website also has a calculation table

https://www.stephenpaulello.com/en/typogramme

The problem isn't the size of the wire, it's the BP%.  Increasing the wire diameter doesn't increase the BP%.  While you have to increase the tension to achieve the same frequency when the wire diameter increases, that same increases in diameter also keeps the BP% steady.  I agree with Tremaine, using Paulello wire as he suggests in those lower notes will raise the BP% and help with the tonal issues. 

The main problem is the hockey-sticking of the bridge and deviating from the log progression that keeps things in order.  The model A tries to addresse that problem with 5 wrapped bichords.  The other issue is the leap to the high tension across the tenor bass break which, when combined with the top end of the bass bridge proximity to the rim (farther away than note 27) causes that note to boom in comparison.  There are design features that can be modified like lengthening the bridge extension at the top end there but it only helps.  One is simply dealing with a break in the scale that can't fully be solved, just made somewhat better, or less bad.  

What would be the effect of going up to 18 1/2 on the last 4 or even 19 on the last two unisons (on an L)?

You could take the bottom 6 notes of your course of # 17 and change to # 17 1/2 That would be notes 35 through 40

You could also do notes 27 and 28 in Paulello Type 1 and notes 29 through 34 in Paulello Type 0

There is slightly lower tension if you are stringing with Roslau or Mapes Intl Gold as they are Metric and slightly smaller in diameter. Some Techs go up a 1/2 gauge size across the board when converting from decimal to metric. I personally do not as it is easier for me to think in the same gauge numbers.

Peter,

Today I destrung an L.  There were  12 #17 unisons and 8 #18, but no 17 1/2 or 18 1/2.  I would love to hear suggestions on better stringing scales for this.

Keith,

I just revised a Model L scale according to my "seat-of-the-pants" style (though I do have some proprietary software to assist me). It incorporates some Paulello wire and puresound wire, and some "stepping up" of certain gauges. When the piano is finished I'll give you a report on success or failure. If a complete success it may be of assistance to you. 

Peter Grey Piano Doctor 

ABACUS © https://www.arnopianos.com/price-list

Paullelo

Paulello's official website also has a calculation table

https://www.stephenpaulello.com/en/typogramme

Ignorant beginner here:

I know that increasing wire size doesn't change BP, only tension.  If using Pauletto wire changes the BP then either Pauletto wire is significantly heavier or it has a lower breaking point.

How does that work?

The problem isn't the size of the wire, it's the BP%.  Increasing the wire diameter doesn't increase the BP%.  While you have to increase the tension to achieve the same frequency when the wire diameter increases, that same increases in diameter also keeps the BP% steady.  I agree with Tremaine, using Paulello wire as he suggests in those lower notes will raise the BP% and help with the tonal issues. 

The main problem is the hockey-sticking of the bridge and deviating from the log progression that keeps things in order.  The model A tries to addresse that problem with 5 wrapped bichords.  The other issue is the leap to the high tension across the tenor bass break which, when combined with the top end of the bass bridge proximity to the rim (farther away than note 27) causes that note to boom in comparison.  There are design features that can be modified like lengthening the bridge extension at the top end there but it only helps.  One is simply dealing with a break in the scale that can't fully be solved, just made somewhat better, or less bad.  

What would be the effect of going up to 18 1/2 on the last 4 or even 19 on the last two unisons (on an L)?

You could take the bottom 6 notes of your course of # 17 and change to # 17 1/2 That would be notes 35 through 40

You could also do notes 27 and 28 in Paulello Type 1 and notes 29 through 34 in Paulello Type 0

There is slightly lower tension if you are stringing with Roslau or Mapes Intl Gold as they are Metric and slightly smaller in diameter. Some Techs go up a 1/2 gauge size across the board when converting from decimal to metric. I personally do not as it is easier for me to think in the same gauge numbers.

Peter,

Today I destrung an L.  There were  12 #17 unisons and 8 #18, but no 17 1/2 or 18 1/2.  I would love to hear suggestions on better stringing scales for this.

Keith,

I just revised a Model L scale according to my "seat-of-the-pants" style (though I do have some proprietary software to assist me). It incorporates some Paulello wire and puresound wire, and some "stepping up" of certain gauges. When the piano is finished I'll give you a report on success or failure. If a complete success it may be of assistance to you. 

Peter Grey Piano Doctor 

ABACUS © https://www.arnopianos.com/price-list

Paullelo

Paulello's official website also has a calculation table

https://www.stephenpaulello.com/en/typogramme

Hi Blaine.

Thinking of the tenor near the break, typically the BP% is too low.  Subbing a larger wire will increase the tension but lower the BP%.  In other words, take it in the wrong direction. 

Lower breaking point?  Yup.  = higher BP%  Type O is weaker than Type M (equivalent to Roslau or Mapes).  Type 1 weaker still.  That's the whole point.  Without changing wire size, you can create very audible improvements in tone simply by using the weaker wire types.  

As David Love indicates, doing these substitutions does not take you all the way in addressing design issues.  But we have moved the goalposts in our favor.

We have not begun to address  hybrid scaling in the bass, where it is far more interesting and the tools more powerful.

Ignorant beginner here:

I know that increasing wire size doesn't change BP, only tension.  If using Pauletto wire changes the BP then either Pauletto wire is significantly heavier or it has a lower breaking point.

How does that work?

The problem isn't the size of the wire, it's the BP%.  Increasing the wire diameter doesn't increase the BP%.  While you have to increase the tension to achieve the same frequency when the wire diameter increases, that same increases in diameter also keeps the BP% steady.  I agree with Tremaine, using Paulello wire as he suggests in those lower notes will raise the BP% and help with the tonal issues. 

The main problem is the hockey-sticking of the bridge and deviating from the log progression that keeps things in order.  The model A tries to addresse that problem with 5 wrapped bichords.  The other issue is the leap to the high tension across the tenor bass break which, when combined with the top end of the bass bridge proximity to the rim (farther away than note 27) causes that note to boom in comparison.  There are design features that can be modified like lengthening the bridge extension at the top end there but it only helps.  One is simply dealing with a break in the scale that can't fully be solved, just made somewhat better, or less bad.  

What would be the effect of going up to 18 1/2 on the last 4 or even 19 on the last two unisons (on an L)?

You could take the bottom 6 notes of your course of # 17 and change to # 17 1/2 That would be notes 35 through 40

You could also do notes 27 and 28 in Paulello Type 1 and notes 29 through 34 in Paulello Type 0

There is slightly lower tension if you are stringing with Roslau or Mapes Intl Gold as they are Metric and slightly smaller in diameter. Some Techs go up a 1/2 gauge size across the board when converting from decimal to metric. I personally do not as it is easier for me to think in the same gauge numbers.

Peter,

Today I destrung an L.  There were  12 #17 unisons and 8 #18, but no 17 1/2 or 18 1/2.  I would love to hear suggestions on better stringing scales for this.

Keith,

I just revised a Model L scale according to my "seat-of-the-pants" style (though I do have some proprietary software to assist me). It incorporates some Paulello wire and puresound wire, and some "stepping up" of certain gauges. When the piano is finished I'll give you a report on success or failure. If a complete success it may be of assistance to you. 

Peter Grey Piano Doctor 

ABACUS © https://www.arnopianos.com/price-list

Paullelo

Paulello's official website also has a calculation table

https://www.stephenpaulello.com/en/typogramme

I hope everyone understands that Mapes Gold is metric wire. Spec Sheet is attached to post 8. Steinway L Original below. (BP%, Tension, and Inh)

Hi Blaine.

Thinking of the tenor near the break, typically the BP% is too low.  Subbing a larger wire will increase the tension but lower the BP%.  In other words, take it in the wrong direction. 

Lower breaking point?  Yup.  = higher BP%  Type O is weaker than Type M (equivalent to Roslau or Mapes).  Type 1 weaker still.  That's the whole point.  Without changing wire size, you can create very audible improvements in tone simply by using the weaker wire types.  

As David Love indicates, doing these substitutions does not take you all the way in addressing design issues.  But we have moved the goalposts in our favor.

We have not begun to address  hybrid scaling in the bass, where it is far more interesting and the tools more powerful.

Ignorant beginner here:

I know that increasing wire size doesn't change BP, only tension.  If using Pauletto wire changes the BP then either Pauletto wire is significantly heavier or it has a lower breaking point.

How does that work?

The problem isn't the size of the wire, it's the BP%.  Increasing the wire diameter doesn't increase the BP%.  While you have to increase the tension to achieve the same frequency when the wire diameter increases, that same increases in diameter also keeps the BP% steady.  I agree with Tremaine, using Paulello wire as he suggests in those lower notes will raise the BP% and help with the tonal issues. 

The main problem is the hockey-sticking of the bridge and deviating from the log progression that keeps things in order.  The model A tries to addresse that problem with 5 wrapped bichords.  The other issue is the leap to the high tension across the tenor bass break which, when combined with the top end of the bass bridge proximity to the rim (farther away than note 27) causes that note to boom in comparison.  There are design features that can be modified like lengthening the bridge extension at the top end there but it only helps.  One is simply dealing with a break in the scale that can't fully be solved, just made somewhat better, or less bad.  

What would be the effect of going up to 18 1/2 on the last 4 or even 19 on the last two unisons (on an L)?

You could take the bottom 6 notes of your course of # 17 and change to # 17 1/2 That would be notes 35 through 40

You could also do notes 27 and 28 in Paulello Type 1 and notes 29 through 34 in Paulello Type 0

There is slightly lower tension if you are stringing with Roslau or Mapes Intl Gold as they are Metric and slightly smaller in diameter. Some Techs go up a 1/2 gauge size across the board when converting from decimal to metric. I personally do not as it is easier for me to think in the same gauge numbers.

Peter,

Today I destrung an L.  There were  12 #17 unisons and 8 #18, but no 17 1/2 or 18 1/2.  I would love to hear suggestions on better stringing scales for this.

Keith,

I just revised a Model L scale according to my "seat-of-the-pants" style (though I do have some proprietary software to assist me). It incorporates some Paulello wire and puresound wire, and some "stepping up" of certain gauges. When the piano is finished I'll give you a report on success or failure. If a complete success it may be of assistance to you. 

Peter Grey Piano Doctor 

ABACUS © https://www.arnopianos.com/price-list

Paullelo

Paulello's official website also has a calculation table

https://www.stephenpaulello.com/en/typogramme

Just an FYI for those who might not know. Metric piano wire by the same gauge number is between .0005 and .0008 smaller than decimal wire up to .050

.051 is .0002 different and .053, .055, .057 and up are .0001 different. See attached spreadsheet. Raising wire diameter will raise tension and also raise Inharmonicity.

I hope everyone understands that Mapes Gold is metric wire. Spec Sheet is attached to post 8. Steinway L Original below. (BP%, Tension, and Inh)

Hi Blaine.

Thinking of the tenor near the break, typically the BP% is too low.  Subbing a larger wire will increase the tension but lower the BP%.  In other words, take it in the wrong direction. 

Lower breaking point?  Yup.  = higher BP%  Type O is weaker than Type M (equivalent to Roslau or Mapes).  Type 1 weaker still.  That's the whole point.  Without changing wire size, you can create very audible improvements in tone simply by using the weaker wire types.  

As David Love indicates, doing these substitutions does not take you all the way in addressing design issues.  But we have moved the goalposts in our favor.

We have not begun to address  hybrid scaling in the bass, where it is far more interesting and the tools more powerful.

Ignorant beginner here:

I know that increasing wire size doesn't change BP, only tension.  If using Pauletto wire changes the BP then either Pauletto wire is significantly heavier or it has a lower breaking point.

How does that work?

The problem isn't the size of the wire, it's the BP%.  Increasing the wire diameter doesn't increase the BP%.  While you have to increase the tension to achieve the same frequency when the wire diameter increases, that same increases in diameter also keeps the BP% steady.  I agree with Tremaine, using Paulello wire as he suggests in those lower notes will raise the BP% and help with the tonal issues. 

The main problem is the hockey-sticking of the bridge and deviating from the log progression that keeps things in order.  The model A tries to addresse that problem with 5 wrapped bichords.  The other issue is the leap to the high tension across the tenor bass break which, when combined with the top end of the bass bridge proximity to the rim (farther away than note 27) causes that note to boom in comparison.  There are design features that can be modified like lengthening the bridge extension at the top end there but it only helps.  One is simply dealing with a break in the scale that can't fully be solved, just made somewhat better, or less bad.  

What would be the effect of going up to 18 1/2 on the last 4 or even 19 on the last two unisons (on an L)?

You could take the bottom 6 notes of your course of # 17 and change to # 17 1/2 That would be notes 35 through 40

You could also do notes 27 and 28 in Paulello Type 1 and notes 29 through 34 in Paulello Type 0

There is slightly lower tension if you are stringing with Roslau or Mapes Intl Gold as they are Metric and slightly smaller in diameter. Some Techs go up a 1/2 gauge size across the board when converting from decimal to metric. I personally do not as it is easier for me to think in the same gauge numbers.

Peter,

Today I destrung an L.  There were  12 #17 unisons and 8 #18, but no 17 1/2 or 18 1/2.  I would love to hear suggestions on better stringing scales for this.

Keith,

I just revised a Model L scale according to my "seat-of-the-pants" style (though I do have some proprietary software to assist me). It incorporates some Paulello wire and puresound wire, and some "stepping up" of certain gauges. When the piano is finished I'll give you a report on success or failure. If a complete success it may be of assistance to you. 

Peter Grey Piano Doctor 

ABACUS © https://www.arnopianos.com/price-list

Paullelo

Paulello's official website also has a calculation table

https://www.stephenpaulello.com/en/typogramme

Tremaine, 

Oddly enough though, I have long found their wire to be extremely close to "right on the money" as far as ASW gauge sizes. Rarely have I found deviation more than .0003". 

Am I correct in that I heard that the wire is actually produced in Switzerland? 

Peter Grey Piano Doctor 

Just an FYI for those who might not know. Metric piano wire by the same gauge number is between .0005 and .0008 smaller than decimal wire up to .050

.051 is .0002 different and .053, .055, .057 and up are .0001 different. See attached spreadsheet. Raising wire diameter will raise tension and also raise Inharmonicity.

I hope everyone understands that Mapes Gold is metric wire. Spec Sheet is attached to post 8. Steinway L Original below. (BP%, Tension, and Inh)

Hi Blaine.

Thinking of the tenor near the break, typically the BP% is too low.  Subbing a larger wire will increase the tension but lower the BP%.  In other words, take it in the wrong direction. 

Lower breaking point?  Yup.  = higher BP%  Type O is weaker than Type M (equivalent to Roslau or Mapes).  Type 1 weaker still.  That's the whole point.  Without changing wire size, you can create very audible improvements in tone simply by using the weaker wire types.  

As David Love indicates, doing these substitutions does not take you all the way in addressing design issues.  But we have moved the goalposts in our favor.

We have not begun to address  hybrid scaling in the bass, where it is far more interesting and the tools more powerful.

Ignorant beginner here:

I know that increasing wire size doesn't change BP, only tension.  If using Pauletto wire changes the BP then either Pauletto wire is significantly heavier or it has a lower breaking point.

How does that work?

The problem isn't the size of the wire, it's the BP%.  Increasing the wire diameter doesn't increase the BP%.  While you have to increase the tension to achieve the same frequency when the wire diameter increases, that same increases in diameter also keeps the BP% steady.  I agree with Tremaine, using Paulello wire as he suggests in those lower notes will raise the BP% and help with the tonal issues. 

The main problem is the hockey-sticking of the bridge and deviating from the log progression that keeps things in order.  The model A tries to addresse that problem with 5 wrapped bichords.  The other issue is the leap to the high tension across the tenor bass break which, when combined with the top end of the bass bridge proximity to the rim (farther away than note 27) causes that note to boom in comparison.  There are design features that can be modified like lengthening the bridge extension at the top end there but it only helps.  One is simply dealing with a break in the scale that can't fully be solved, just made somewhat better, or less bad.  

What would be the effect of going up to 18 1/2 on the last 4 or even 19 on the last two unisons (on an L)?

You could take the bottom 6 notes of your course of # 17 and change to # 17 1/2 That would be notes 35 through 40

You could also do notes 27 and 28 in Paulello Type 1 and notes 29 through 34 in Paulello Type 0

There is slightly lower tension if you are stringing with Roslau or Mapes Intl Gold as they are Metric and slightly smaller in diameter. Some Techs go up a 1/2 gauge size across the board when converting from decimal to metric. I personally do not as it is easier for me to think in the same gauge numbers.

Peter,

Today I destrung an L.  There were  12 #17 unisons and 8 #18, but no 17 1/2 or 18 1/2.  I would love to hear suggestions on better stringing scales for this.

Keith,

I just revised a Model L scale according to my "seat-of-the-pants" style (though I do have some proprietary software to assist me). It incorporates some Paulello wire and puresound wire, and some "stepping up" of certain gauges. When the piano is finished I'll give you a report on success or failure. If a complete success it may be of assistance to you. 

Peter Grey Piano Doctor 

ABACUS © https://www.arnopianos.com/price-list

Paullelo

Paulello's official website also has a calculation table

https://www.stephenpaulello.com/en/typogramme

Hi Blaine.

Thinking of the tenor near the break, typically the BP% is too low.  Subbing a larger wire will increase the tension but lower the BP%.  In other words, take it in the wrong direction. 

Lower breaking point?  Yup.  = higher BP%  Type O is weaker than Type M (equivalent to Roslau or Mapes).  Type 1 weaker still.  That's the whole point.  Without changing wire size, you can create very audible improvements in tone simply by using the weaker wire types.  

As David Love indicates, doing these substitutions does not take you all the way in addressing design issues.  But we have moved the goalposts in our favor.

We have not begun to address  hybrid scaling in the bass, where it is far more interesting and the tools more powerful.

Ignorant beginner here:

I know that increasing wire size doesn't change BP, only tension.  If using Pauletto wire changes the BP then either Pauletto wire is significantly heavier or it has a lower breaking point.

How does that work?

The problem isn't the size of the wire, it's the BP%.  Increasing the wire diameter doesn't increase the BP%.  While you have to increase the tension to achieve the same frequency when the wire diameter increases, that same increases in diameter also keeps the BP% steady.  I agree with Tremaine, using Paulello wire as he suggests in those lower notes will raise the BP% and help with the tonal issues. 

The main problem is the hockey-sticking of the bridge and deviating from the log progression that keeps things in order.  The model A tries to addresse that problem with 5 wrapped bichords.  The other issue is the leap to the high tension across the tenor bass break which, when combined with the top end of the bass bridge proximity to the rim (farther away than note 27) causes that note to boom in comparison.  There are design features that can be modified like lengthening the bridge extension at the top end there but it only helps.  One is simply dealing with a break in the scale that can't fully be solved, just made somewhat better, or less bad.  

What would be the effect of going up to 18 1/2 on the last 4 or even 19 on the last two unisons (on an L)?

You could take the bottom 6 notes of your course of # 17 and change to # 17 1/2 That would be notes 35 through 40

You could also do notes 27 and 28 in Paulello Type 1 and notes 29 through 34 in Paulello Type 0

There is slightly lower tension if you are stringing with Roslau or Mapes Intl Gold as they are Metric and slightly smaller in diameter. Some Techs go up a 1/2 gauge size across the board when converting from decimal to metric. I personally do not as it is easier for me to think in the same gauge numbers.

Peter,

Today I destrung an L.  There were  12 #17 unisons and 8 #18, but no 17 1/2 or 18 1/2.  I would love to hear suggestions on better stringing scales for this.

Keith,

I just revised a Model L scale according to my "seat-of-the-pants" style (though I do have some proprietary software to assist me). It incorporates some Paulello wire and puresound wire, and some "stepping up" of certain gauges. When the piano is finished I'll give you a report on success or failure. If a complete success it may be of assistance to you. 

Peter Grey Piano Doctor 

ABACUS © https://www.arnopianos.com/price-list

Paullelo

Paulello's official website also has a calculation table

https://www.stephenpaulello.com/en/typogramme

Nope, it will not lower the BP%.  Increasing the diameter increases the tension but the increased diameter also means it's stronger so its BP% actually doesn't change.

Hi Blaine.

Thinking of the tenor near the break, typically the BP% is too low.  Subbing a larger wire will increase the tension but lower the BP%.  In other words, take it in the wrong direction. 

Lower breaking point?  Yup.  = higher BP%  Type O is weaker than Type M (equivalent to Roslau or Mapes).  Type 1 weaker still.  That's the whole point.  Without changing wire size, you can create very audible improvements in tone simply by using the weaker wire types.  

As David Love indicates, doing these substitutions does not take you all the way in addressing design issues.  But we have moved the goalposts in our favor.

We have not begun to address  hybrid scaling in the bass, where it is far more interesting and the tools more powerful.

Ignorant beginner here:

I know that increasing wire size doesn't change BP, only tension.  If using Pauletto wire changes the BP then either Pauletto wire is significantly heavier or it has a lower breaking point.

How does that work?

The problem isn't the size of the wire, it's the BP%.  Increasing the wire diameter doesn't increase the BP%.  While you have to increase the tension to achieve the same frequency when the wire diameter increases, that same increases in diameter also keeps the BP% steady.  I agree with Tremaine, using Paulello wire as he suggests in those lower notes will raise the BP% and help with the tonal issues. 

The main problem is the hockey-sticking of the bridge and deviating from the log progression that keeps things in order.  The model A tries to addresse that problem with 5 wrapped bichords.  The other issue is the leap to the high tension across the tenor bass break which, when combined with the top end of the bass bridge proximity to the rim (farther away than note 27) causes that note to boom in comparison.  There are design features that can be modified like lengthening the bridge extension at the top end there but it only helps.  One is simply dealing with a break in the scale that can't fully be solved, just made somewhat better, or less bad.  

What would be the effect of going up to 18 1/2 on the last 4 or even 19 on the last two unisons (on an L)?

You could take the bottom 6 notes of your course of # 17 and change to # 17 1/2 That would be notes 35 through 40

You could also do notes 27 and 28 in Paulello Type 1 and notes 29 through 34 in Paulello Type 0

There is slightly lower tension if you are stringing with Roslau or Mapes Intl Gold as they are Metric and slightly smaller in diameter. Some Techs go up a 1/2 gauge size across the board when converting from decimal to metric. I personally do not as it is easier for me to think in the same gauge numbers.

Peter,

Today I destrung an L.  There were  12 #17 unisons and 8 #18, but no 17 1/2 or 18 1/2.  I would love to hear suggestions on better stringing scales for this.

Keith,

I just revised a Model L scale according to my "seat-of-the-pants" style (though I do have some proprietary software to assist me). It incorporates some Paulello wire and puresound wire, and some "stepping up" of certain gauges. When the piano is finished I'll give you a report on success or failure. If a complete success it may be of assistance to you. 

Peter Grey Piano Doctor 

ABACUS © https://www.arnopianos.com/price-list

Paullelo

Paulello's official website also has a calculation table

https://www.stephenpaulello.com/en/typogramme

Ignorant beginner here:

I know that increasing wire size doesn't change BP, only tension.  If using Pauletto wire changes the BP then either Pauletto wire is significantly heavier or it has a lower breaking point.

How does that work?

The problem isn't the size of the wire, it's the BP%.  Increasing the wire diameter doesn't increase the BP%.  While you have to increase the tension to achieve the same frequency when the wire diameter increases, that same increases in diameter also keeps the BP% steady.  I agree with Tremaine, using Paulello wire as he suggests in those lower notes will raise the BP% and help with the tonal issues. 

The main problem is the hockey-sticking of the bridge and deviating from the log progression that keeps things in order.  The model A tries to addresse that problem with 5 wrapped bichords.  The other issue is the leap to the high tension across the tenor bass break which, when combined with the top end of the bass bridge proximity to the rim (farther away than note 27) causes that note to boom in comparison.  There are design features that can be modified like lengthening the bridge extension at the top end there but it only helps.  One is simply dealing with a break in the scale that can't fully be solved, just made somewhat better, or less bad.  

What would be the effect of going up to 18 1/2 on the last 4 or even 19 on the last two unisons (on an L)?

You could take the bottom 6 notes of your course of # 17 and change to # 17 1/2 That would be notes 35 through 40

You could also do notes 27 and 28 in Paulello Type 1 and notes 29 through 34 in Paulello Type 0

There is slightly lower tension if you are stringing with Roslau or Mapes Intl Gold as they are Metric and slightly smaller in diameter. Some Techs go up a 1/2 gauge size across the board when converting from decimal to metric. I personally do not as it is easier for me to think in the same gauge numbers.

Peter,

Today I destrung an L.  There were  12 #17 unisons and 8 #18, but no 17 1/2 or 18 1/2.  I would love to hear suggestions on better stringing scales for this.

Keith,

I just revised a Model L scale according to my "seat-of-the-pants" style (though I do have some proprietary software to assist me). It incorporates some Paulello wire and puresound wire, and some "stepping up" of certain gauges. When the piano is finished I'll give you a report on success or failure. If a complete success it may be of assistance to you. 

Peter Grey Piano Doctor 

ABACUS © https://www.arnopianos.com/price-list

Paullelo

Paulello's official website also has a calculation table

https://www.stephenpaulello.com/en/typogramme

It looks like you're getting some answers there, I assume it's the wire composition but I don't know the specifics.

Ignorant beginner here:

I know that increasing wire size doesn't change BP, only tension.  If using Pauletto wire changes the BP then either Pauletto wire is significantly heavier or it has a lower breaking point.

How does that work?

The problem isn't the size of the wire, it's the BP%.  Increasing the wire diameter doesn't increase the BP%.  While you have to increase the tension to achieve the same frequency when the wire diameter increases, that same increases in diameter also keeps the BP% steady.  I agree with Tremaine, using Paulello wire as he suggests in those lower notes will raise the BP% and help with the tonal issues. 

The main problem is the hockey-sticking of the bridge and deviating from the log progression that keeps things in order.  The model A tries to addresse that problem with 5 wrapped bichords.  The other issue is the leap to the high tension across the tenor bass break which, when combined with the top end of the bass bridge proximity to the rim (farther away than note 27) causes that note to boom in comparison.  There are design features that can be modified like lengthening the bridge extension at the top end there but it only helps.  One is simply dealing with a break in the scale that can't fully be solved, just made somewhat better, or less bad.  

What would be the effect of going up to 18 1/2 on the last 4 or even 19 on the last two unisons (on an L)?

You could take the bottom 6 notes of your course of # 17 and change to # 17 1/2 That would be notes 35 through 40

You could also do notes 27 and 28 in Paulello Type 1 and notes 29 through 34 in Paulello Type 0

There is slightly lower tension if you are stringing with Roslau or Mapes Intl Gold as they are Metric and slightly smaller in diameter. Some Techs go up a 1/2 gauge size across the board when converting from decimal to metric. I personally do not as it is easier for me to think in the same gauge numbers.

Peter,

Today I destrung an L.  There were  12 #17 unisons and 8 #18, but no 17 1/2 or 18 1/2.  I would love to hear suggestions on better stringing scales for this.

Keith,

I just revised a Model L scale according to my "seat-of-the-pants" style (though I do have some proprietary software to assist me). It incorporates some Paulello wire and puresound wire, and some "stepping up" of certain gauges. When the piano is finished I'll give you a report on success or failure. If a complete success it may be of assistance to you. 

Peter Grey Piano Doctor 

ABACUS © https://www.arnopianos.com/price-list

Paullelo

Paulello's official website also has a calculation table

https://www.stephenpaulello.com/en/typogramme

I have heard that Paulello has the wire made by a small manufacturer in Germany, that may just mean my rumor is as good as your rumor.  As for the composition of the wire, I have never seen anything about what the wire is made of.  Stephen does not say.  It is drawn more slowly through more dies. that may have some effect on the fact the wire stabilizes  more quickly than Roslau or Mapes.  In handling, XM wire (strongest) is stiffer and hard to handle, M feels about the same in the hand as Mapes or Roslau, 0 is more flexible, and 1 is the most flexible.  The breaking percentages vary for each of the types of the same diameter, established by testing.  (All else being equal).

It looks like you're getting some answers there, I assume it's the wire composition but I don't know the specifics.

Ignorant beginner here:

I know that increasing wire size doesn't change BP, only tension.  If using Pauletto wire changes the BP then either Pauletto wire is significantly heavier or it has a lower breaking point.

How does that work?

The problem isn't the size of the wire, it's the BP%.  Increasing the wire diameter doesn't increase the BP%.  While you have to increase the tension to achieve the same frequency when the wire diameter increases, that same increases in diameter also keeps the BP% steady.  I agree with Tremaine, using Paulello wire as he suggests in those lower notes will raise the BP% and help with the tonal issues. 

The main problem is the hockey-sticking of the bridge and deviating from the log progression that keeps things in order.  The model A tries to addresse that problem with 5 wrapped bichords.  The other issue is the leap to the high tension across the tenor bass break which, when combined with the top end of the bass bridge proximity to the rim (farther away than note 27) causes that note to boom in comparison.  There are design features that can be modified like lengthening the bridge extension at the top end there but it only helps.  One is simply dealing with a break in the scale that can't fully be solved, just made somewhat better, or less bad.  

What would be the effect of going up to 18 1/2 on the last 4 or even 19 on the last two unisons (on an L)?

You could take the bottom 6 notes of your course of # 17 and change to # 17 1/2 That would be notes 35 through 40

You could also do notes 27 and 28 in Paulello Type 1 and notes 29 through 34 in Paulello Type 0

There is slightly lower tension if you are stringing with Roslau or Mapes Intl Gold as they are Metric and slightly smaller in diameter. Some Techs go up a 1/2 gauge size across the board when converting from decimal to metric. I personally do not as it is easier for me to think in the same gauge numbers.

Peter,

Today I destrung an L.  There were  12 #17 unisons and 8 #18, but no 17 1/2 or 18 1/2.  I would love to hear suggestions on better stringing scales for this.

Keith,

I just revised a Model L scale according to my "seat-of-the-pants" style (though I do have some proprietary software to assist me). It incorporates some Paulello wire and puresound wire, and some "stepping up" of certain gauges. When the piano is finished I'll give you a report on success or failure. If a complete success it may be of assistance to you. 

Peter Grey Piano Doctor 

ABACUS © https://www.arnopianos.com/price-list

Paullelo

Paulello's official website also has a calculation table

https://www.stephenpaulello.com/en/typogramme

Keith,

I promised you an update on the L with a slightly modified scale design. It is now all strung and up to 443hz and it is sounding great! I'm not going to change a thing. The changes I made were essentially triggered by comparing this scale with that of a Mason and Hamlin A that I recently completed. The tension was a bit higher in the tenor area and some of the string lengths were actually shorter than on this scale so I figured I could easily stand some increase on this one. I'm very happy with the results. You have the data. Probably not applicable to your B, but I wanted to let you know how this one turned out. 

Peter Grey Piano Doctor 

I have heard that Paulello has the wire made by a small manufacturer in Germany, that may just mean my rumor is as good as your rumor.  As for the composition of the wire, I have never seen anything about what the wire is made of.  Stephen does not say.  It is drawn more slowly through more dies. that may have some effect on the fact the wire stabilizes  more quickly than Roslau or Mapes.  In handling, XM wire (strongest) is stiffer and hard to handle, M feels about the same in the hand as Mapes or Roslau, 0 is more flexible, and 1 is the most flexible.  The breaking percentages vary for each of the types of the same diameter, established by testing.  (All else being equal).

It looks like you're getting some answers there, I assume it's the wire composition but I don't know the specifics.

Ignorant beginner here:

I know that increasing wire size doesn't change BP, only tension.  If using Pauletto wire changes the BP then either Pauletto wire is significantly heavier or it has a lower breaking point.

How does that work?

The problem isn't the size of the wire, it's the BP%.  Increasing the wire diameter doesn't increase the BP%.  While you have to increase the tension to achieve the same frequency when the wire diameter increases, that same increases in diameter also keeps the BP% steady.  I agree with Tremaine, using Paulello wire as he suggests in those lower notes will raise the BP% and help with the tonal issues. 

The main problem is the hockey-sticking of the bridge and deviating from the log progression that keeps things in order.  The model A tries to addresse that problem with 5 wrapped bichords.  The other issue is the leap to the high tension across the tenor bass break which, when combined with the top end of the bass bridge proximity to the rim (farther away than note 27) causes that note to boom in comparison.  There are design features that can be modified like lengthening the bridge extension at the top end there but it only helps.  One is simply dealing with a break in the scale that can't fully be solved, just made somewhat better, or less bad.  

What would be the effect of going up to 18 1/2 on the last 4 or even 19 on the last two unisons (on an L)?

You could take the bottom 6 notes of your course of # 17 and change to # 17 1/2 That would be notes 35 through 40

You could also do notes 27 and 28 in Paulello Type 1 and notes 29 through 34 in Paulello Type 0

There is slightly lower tension if you are stringing with Roslau or Mapes Intl Gold as they are Metric and slightly smaller in diameter. Some Techs go up a 1/2 gauge size across the board when converting from decimal to metric. I personally do not as it is easier for me to think in the same gauge numbers.

Peter,

Today I destrung an L.  There were  12 #17 unisons and 8 #18, but no 17 1/2 or 18 1/2.  I would love to hear suggestions on better stringing scales for this.

Keith,

I just revised a Model L scale according to my "seat-of-the-pants" style (though I do have some proprietary software to assist me). It incorporates some Paulello wire and puresound wire, and some "stepping up" of certain gauges. When the piano is finished I'll give you a report on success or failure. If a complete success it may be of assistance to you. 

Peter Grey Piano Doctor 

ABACUS © https://www.arnopianos.com/price-list

Paullelo

Paulello's official website also has a calculation table

https://www.stephenpaulello.com/en/typogramme

Please hurry with the re-scale, I am holding my breath, but can't hold out too much longer!

------------------------------
Blaine Hebert RPT
Duarte CA
(626) 390-0512

Original Message:
Sent: 09-10-2024 15:57
From: Peter Grey
Subject: S&S "B" rescale...

Keith,

I promised you an update on the L with a slightly modified scale design. It is now all strung and up to 443hz and it is sounding great! I'm not going to change a thing. The changes I made were essentially triggered by comparing this scale with that of a Mason and Hamlin A that I recently completed. The tension was a bit higher in the tenor area and some of the string lengths were actually shorter than on this scale so I figured I could easily stand some increase on this one. I'm very happy with the results. You have the data. Probably not applicable to your B, but I wanted to let you know how this one turned out. 

Peter Grey Piano Doctor 

------------------------------
Peter Grey
Stratham NH
(603) 686-2395
pianodoctor57@gmail.com

Original Message:
Sent: 08-31-2024 11:10
From: William Truitt
Subject: S&S "B" rescale...

I have heard that Paulello has the wire made by a small manufacturer in Germany, that may just mean my rumor is as good as your rumor.  As for the composition of the wire, I have never seen anything about what the wire is made of.  Stephen does not say.  It is drawn more slowly through more dies. that may have some effect on the fact the wire stabilizes  more quickly than Roslau or Mapes.  In handling, XM wire (strongest) is stiffer and hard to handle, M feels about the same in the hand as Mapes or Roslau, 0 is more flexible, and 1 is the most flexible.  The breaking percentages vary for each of the types of the same diameter, established by testing.  (All else being equal).

------------------------------
William Truitt RPT
Bridgewater NH
(603) 744-2277

Original Message:
Sent: 08-31-2024 02:05
From: David Love
Subject: S&S "B" rescale...

It looks like you're getting some answers there, I assume it's the wire composition but I don't know the specifics.

------------------------------
David Love RPT
www.davidlovepianos.com
davidlovepianos@comcast.net
415 407 8320

Original Message:
Sent: 08-30-2024 01:42
From: Blaine Hebert
Subject: S&S "B" rescale...

Ignorant beginner here:

I know that increasing wire size doesn't change BP, only tension.  If using Pauletto wire changes the BP then either Pauletto wire is significantly heavier or it has a lower breaking point.

How does that work?

------------------------------
Blaine Hebert RPT
Duarte CA
(626) 390-0512

Original Message:
Sent: 08-30-2024 00:38
From: David Love
Subject: S&S "B" rescale...

The problem isn't the size of the wire, it's the BP%.  Increasing the wire diameter doesn't increase the BP%.  While you have to increase the tension to achieve the same frequency when the wire diameter increases, that same increases in diameter also keeps the BP% steady.  I agree with Tremaine, using Paulello wire as he suggests in those lower notes will raise the BP% and help with the tonal issues. 

The main problem is the hockey-sticking of the bridge and deviating from the log progression that keeps things in order.  The model A tries to addresse that problem with 5 wrapped bichords.  The other issue is the leap to the high tension across the tenor bass break which, when combined with the top end of the bass bridge proximity to the rim (farther away than note 27) causes that note to boom in comparison.  There are design features that can be modified like lengthening the bridge extension at the top end there but it only helps.  One is simply dealing with a break in the scale that can't fully be solved, just made somewhat better, or less bad.  

------------------------------
David Love RPT
www.davidlovepianos.com
davidlovepianos@comcast.net
415 407 8320

Original Message:
Sent: 08-29-2024 01:21
From: Blaine Hebert
Subject: S&S "B" rescale...

What would be the effect of going up to 18 1/2 on the last 4 or even 19 on the last two unisons (on an L)?

------------------------------
Blaine Hebert RPT
Duarte CA
(626) 390-0512

Original Message:
Sent: 08-28-2024 09:31
From: Tremaine Parsons
Subject: S&S "B" rescale...

You could take the bottom 6 notes of your course of # 17 and change to # 17 1/2 That would be notes 35 through 40

You could also do notes 27 and 28 in Paulello Type 1 and notes 29 through 34 in Paulello Type 0

There is slightly lower tension if you are stringing with Roslau or Mapes Intl Gold as they are Metric and slightly smaller in diameter. Some Techs go up a 1/2 gauge size across the board when converting from decimal to metric. I personally do not as it is easier for me to think in the same gauge numbers.

------------------------------
Tremaine Parsons RPT
Georgetown CA
(530) 333-9299

Original Message:
Sent: 08-28-2024 01:22
From: Blaine Hebert
Subject: S&S "B" rescale...

Peter,

Today I destrung an L.  There were  12 #17 unisons and 8 #18, but no 17 1/2 or 18 1/2.  I would love to hear suggestions on better stringing scales for this.

------------------------------
Blaine Hebert RPT
Duarte CA
(626) 390-0512

Original Message:
Sent: 08-27-2024 09:04
From: Peter Grey
Subject: S&S "B" rescale...

Keith,

I just revised a Model L scale according to my "seat-of-the-pants" style (though I do have some proprietary software to assist me). It incorporates some Paulello wire and puresound wire, and some "stepping up" of certain gauges. When the piano is finished I'll give you a report on success or failure. If a complete success it may be of assistance to you. 

Peter Grey Piano Doctor 

------------------------------
Peter Grey
Stratham NH
(603) 686-2395
pianodoctor57@gmail.com

Original Message:
Sent: 08-15-2024 04:30
From: Zhanxi Huang
Subject: S&S "B" rescale...

ABACUS © https://www.arnopianos.com/price-list

Paullelo

Paulello's official website also has a calculation table

https://www.stephenpaulello.com/en/typogramme

------------------------------
Zhanxi Huang
Benxi
86-18741420582

Original Message:
Sent: 08-11-2024 11:04
From: Keith Akins
Subject: S&S "B" rescale...