Music Trade Review

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
OCIOBER 11, 1919
THE MUSIC TRADE REVIEW
15
OurHCHNICAL DEPARTMENT
CONDUCTED BY WILLIAM BRAID WHITE
should. It becomes, in short, a rod. Its proper
vibration is rod-like and consequently does not
give true string-tone.
The Critical Point
It is unnecessary to restate in any close detail and mathematical laws which govern the behavior
Where does this point of vibrational change
the well-known facts as to the tonal weakness of strings is needed. On the treble side of the
common to the region of the bass-treble break in break, it is necessary that the tone quality should come into being? We may say that as soon as
the small grand piano. They are familiar to all, remain in as nearly as possible even to the very the weight of a string per inch is proportionately
nor can the most exquisite skill in tone-regulating end of the treble section. This can only mean that more than the similar weight which subsists for
entirely hide them from the discriminating lis- some way must be found to equalize or compound the middle of the bass section, the limit has been
tener. Briefly stated, the tonal weakness lies the factors which enter into the string's action, passed. This implies of course proportionate in-
first in the unnatural quality of tone which sud- so that a defect in respect of one element may crease in stiffness in the higher strings of which
denly appears two or three strings above the be balanced by an addition in respect of another we are now speaking.
Generally speaking it is safe to say that, when
break on the treble side. This changes sharply element. The elements in question are the length,
at the beginning of the bass into another quality the weight, the tension and the pitch. These are a string which" otherwise would be gaged at 19
which itself differs noticeably from the quality interdependent; An alteration of length involves wire, is shortened up by more than 10% of what
common to the body of the bass section. Thus an alteration in weight, tension and pitch. An its length should rightly be, and is then neces-
we have not merely a change in quality between alteration in pitch means an alteration in tension. sarily strung with 21 wire, it is really too short
the two sections, treble and bass. There is also An alteration in weight means an alteration in and stiff to give good tone. When such a string
is less than 40 inches long, it cannot give a good
a difference between the few highest bass strings tension and in pitch.
Now the difficulty we have to face at the tone on 21 wire, or even on 20 wire. I should be
and the main body of the bass, with a parallel
difference between the few lowest treble strings treble end of the break is primarily one of length. more inclined in such a case to make the plain
wire end at C sharp 2 and from there on to the
If we have been working on a definitely planned
and the main middle section of the piano.
It is plain that these extraordinary and alto- schedule of lengths, graduated so as to preserve end use No. 15 core and No. 34 covering wire,
gether irreconcilable difference of tonal quality, an average tension for all pitches and a gradu- with progressive increase in sizes downwards.
must be accounted for by some remarkable limi- ated increase of weight per inch as the pitch de- This would probably be actually better in re-
tation in the possibilities of correct design at scends, it is plain that we can maintain, other spect of tension and stiffness, provided the string-
these points and in this region. The practical things being equal, a parity of tone-quality so lengths exceed 44 inches at C 2. Such a limit as
piano maker of course is well aware that the long as this orderly process of design can con- this just mentioned rules out, of course, the ex-
region with which we are dealing presents un- tinue. But if we are suddenly brought to a point tremely small grand; because a string 44 inches
usual problems. No matter how little scientific where the orderly length graduation must cease, long at that point must have a total length from
his methods may be, he has some proportional the only course left open to us is to compound. pin to pin of not less than 55 inches.
By aproning out the bridge so as to get the
scale on which he designs his string lengths. As We shall have to put the length as best we can
he comes down from the high treble and ap- and alter the weights so as to retain the tension bearing point on the board nearer to the center,
proaches the bass region, he finds that he is rap- average. If we thus balance the loss of length by placing the hitch-pin as near to the edge of
idly approaching a point at which the carrying by a parallel increase in weight, we shall be able the plate as possible, and by other means of the
out of his proportions will no longer be possible, to achieve a satisfactory composition of factors sort, one can extend the speaking length of the
owing to the space limitations of the case. He within certain definite limits to be noted in one strings at the critical points; but it is difficult
to resist the belief that within the region of the
is therefore obliged to scale certain of the uni- course.
The Acoustic Factor
bass-treble break, especially on its treble side,
sons near to the bass section, at a length shorter
These pages have more than once contained the most serious difficulties are almost certain to
than his proportions will allow. Even in the
longest piano, there comes a place where the detailed instructions, with all necessary formulae, arise.
planned proportions of length can no longer be for obtaining the required overweighting coeffi-
I have been content here to indicate the nature
preserved and the remaining lower tones must cient in cases such as we have been discussing. of these and have pointed out the physical facts
be overstrung so as to compensate for under- It is not necessary to repeat them here. All I which account for them. It is not my business
length by overweight. It is not surprising there- now need do is to point out that when we have to tell piano makers that they shall or shall not
fore that in the smaller grands, even before any obtained a mathematical result showing that a do this or that. It is not my business to recom-
over-stringing can be practically used, we reach certain weight of string is required when the mend any precise size limits. But it is proper
a point where the space limitations bar further length has been shortened to a given extent, we for me to point out that there is a limit beyond
progress with the correct lengths. The smaller have not entirely rid ourselves of trouble. For which it is unwise to go. This limit is at or near
the grand, of course, the greater is the number it may well be that the strings which have been to a length of 44 inches for C 2.
of unisons on the treble side thus arbitrarily cut short owing to the limits set to the size of
The Bass Side
shortened up. These cannot be put on to the the piano will vibrate very inefficiently for tonal
The bass side of the bass-treble region ought
bass side, because the bass strings are in a posi- purposes. It is not enough that there should be not to present such grave difficulties. I find, how-
tion which strictly limits them as to proportion a mathematical compensation. When the rela- ever, that there is a distressing prevalence of bad
between length and weight. Balance of tensional tion between length and weight of a string ap- tone at the beginning of this side of the region,
strain cannot be duly preserved when the bass proaches a certain condition, the form of vibra- owing to sudden increases in tension on the first
strings run higher than about C 2. It is therefore tion is such that good tone is impossible. Spe- two or three strings. Upon examination, it is
necessary to shorten and overweight on the treble cifically, the string must not be too short in re- nearly always found that the designers have al-
side; and upon the skill with which this is carried lation to its weight. If the weight-proportion lowed the specification for core and covering wire
out depends the relative success of the tonal re- passes, as it were, a certain point, the string to be laid out upon insufficient data as to tension.
ceases to be a true string and is unable, by reason
sults in this region.
(Continued on page 16)
of
its undue stiffness, to vibrate as a string
It is pretty certain that the distressing tonal
roughness in this region, of which we have
The Pioneer School
spoken, is founded in the conditions which have
Here are
now been set fortn in some detail. Let us con-
with 800 Successful
sider what can be done to ameliorate them.
Graduates in the Field
The Composition-of Factors
Special attention given to the needs of the tuner and the dealer
Address, Box 414
It is in this very region that the unscientific
VALPARAISO, IND.
OTTO
TREFZ
designer begins to get into really serious trouble.
Falrmouiit Avenue
Philadelphia Pn.
For it is here an acquaintance with the physical
THE TONAL LIMITS OF THE SMALL GRAND_PIANO—III
TUNERS
BASS STRINGS
FAUST SCHOOL OF TUNING
Piano, Player-Piano, Pipe and Reed Organ Toning and Re-
pairing, alto Regulating, Voicing, Varnishing and Polishing
This formerly was the tuning department of the New
England Conservatory of Music, and Oliver C. Faust was
head of the department for 20 years previous to its dis-
continuance.
Courses in mathematical piano scale construction and
drafting of same have been added.
Pupils have daily practise in Chickering & Sons' factory.
Year Book sent free upon request.
27-29 GAINSBOROUGH ST.. BOSTON. MASS.
The TUNER'S FRIEND
Old ityle bridle strep
BRAUNSDORF'S ALL LEATHER
BRIDLE
or
Specialties
Braunsdorf's Other Specialties
New style all leather bridle strap
STRAPS
Labor Siring; Mooie Proof; Guaranteed all one length
Send for Samples.
Prices on Request
Felts and Cloths In any Quantities
GEO. W. BRAUNSDORF,
Paper. Felt and Cloth Punch-
ings. Fibre Washers and Bridges
for
Pianos, Organs and
Player Actions
Office and Factory:
430 East 53rd Street, New York