Music Trade Review
Issue: 1913 Vol. 57 N. 1 - Page 12
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THE MUSIC TRADE REVIEW
12
OuTTECHNICAL DEPARTMENT
CONDUCTED BY WILLIAM BRAID WHITE.
IRON AND COPPER WINDINGS.
The other day I received a letter from a gentle-
pecially complex nor especially important. But it
has frequently been made so when something was
to be gained. And thus it was this time. Briefly,
my correspondent was concerned over the fact
that somebody else had been knocking a certain
make of piano, on the ground that said piano was
strung with iron wound bass strings.
Now, this question of iron as against copper
winding has furnished prolific sources of con-
troversy for a good many years, and yet the basic
facts concerning the matter are little understood.
In reality the whole thing is very simple, and a
little thought on the subject will clear up the
difficulties at once. For the benefit, however, of
those who are uncertain of their ground and to
kill off any possible chance of controversy where
readers of this page may run up against the same
knock, I append here some facts that ought to
decide everything definitely.
In order to know what thine adversary has up
his sleeve it is distinctly helpful to have full and
complete knowledge of any matter that may be
under debate. In the present case we have to con-
sider the fact that the fundamental proposition in
any problem involved in bass strings is weight
and that only. The design of the bass strings
must not proceed on any basis at all different from
the rest of the scale. The method of design
must be modified, but the principle remains the
same. Now, when we undertake to design the
strings for a piano we have to consider how to
obtain certain sounds of definite frequencies, with
the right sort of tone quality and at the right
tension. Practical experimentation has fixed these
things within fairly definite limits, so that we
know pretty well how far we can go in any direc-
tion. The treble or unwound strings are first of
all designed as to length, for we know that we
have to come within certain limits and practical
experience has shown that the conditions can be
met when the note C 7 is represented by a string
approximately 2 inches (52 mm) in length. From
this beginning we are able to lay out the lengths
of all other strings, making an allowance for in-
crease of weight upon a definite basis, whereby the
length of each string downwards increases pro-
gressively. This we can do in perfect accord with
mathematical accuracy until we reach the point
where the increasing length o'f the strings can no
longer be accommodated within the limits of the
piano case. Then the wound string for the first
time becomes a necessity.
Now, the sole object of providing a wound string
is to increase the weight without increasing the
length. The factors of length, weight and tension
are interdependent, and it is necessary to accom-
modate any change on the one by equivalent
changes in the other. When we no longer can
space out the string lengths according to mathe-
matical rule, we have to disturb the weight factor,
and this we do by winding wire of some soft
metal over the steel wire of the string proper.
The sole object of this winding is to weight the
string until the length factor has been artificially
cared for and compensated. That, and that alone,
is the object of the winding.
FAUST SCHOOL OF TUNING
Piano, Player-Piano, Pipe and Reed Organ Tuning and Re-
pairing, alio Refnlating, Voicing, Varnishing and Polishing.
This formerly was the tuning department of the New Eng-
land Conservatory of Music, and Oliver C, Faust was head
of that department for 20 years previous to its discontinu-
ance.
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.
17*29 GAINSBOROUGH ST., BOSTON, MASS.
When we come to consider the mechanical facts
involved in the winding of a soft wire around
a steel core, we have to deal with other factors.
Here for the first time the matter of material
begins to take on importance. Other things being
equal, it is obvious that the less bulky the wrap-
ping wire is in proportion to its weight, the better
suited it will be for its purpose. Now the specific
gravity of copper wire is to that of iron = 44 : 39.
Thus, other things being equal, copper should be
more suitable than iron for the purpose of wrap-
ping wire, since it is heavier bulk for bulk, and
thus a lighter drawing of wire can tie used for a
given weight.
Again, copper wire tends to be more "springy"
than wire made of iron, and hence clings better
to the core. This is another advantage, especially
in heavy strings. Thus we have two important
advantages for copper over iron covering wire.
But it is also alleged on the other side, and
with much plausibility, that the vibration of ,a
string covered with copper wire is not as free as
when the wrapping material is iron. For this
reason many most respectable piano makers prefer
to use iron wire. This last consideration is of
great importance, and it will be found that many
pianos of the highest grade are built with at least
some of their strings wound with iron wire.
It should therefore be noted that the fact of a
piano being strung with copper wire is by no
means an indication of its superiority, tior is the
fact that iron wire is used any proof of inferiority.
Moreover, there is yet another question. The
peculiarities of each individual scale are to be con-
sidered. It is frequently found that a change from
one to the other kind of wrapping will produce an
improvement in a given scale. Here the condi-
tions are to be traced to some peculiarity in de-
sign, which has produced a particular sort of
tone to which one sort of wrapping wire is better
suited than another.
I particularly lay stress upon these points be-
cause many pianos of inferior grades are strung
with copper wound strings. No one will be in-
clined to deny that copper winding is better look-
ing, smarter in appearance. The copper wound
bass look's as if it were a great deal more ex-
pensive and the unsuspecting purchaser is likely
to fall for it readily. But if the salesman is honest
no such talking point will have any part in the
transaction. Certainly, whenever a reader is
brought into a controversy, as party thereto or as
umpire, regarding the relative merits of iron and
copper as wrapping material, he may remember
what has been said here and try first of all to
discover whether the piano maker did not have
some special reason for the use of the one as
against the other.
round if a little hint were dropped once in a while
hitherward. I do my very best to give what is
asked for, what is needed and what is in demand
in the way of technical information. I am not
infallible, however, and many times no doubt read-
ers are disappointed at finding on? topic and not
another treated on this page. In that case let
them get busy with pen and ink and tell me what
they want. I shall do my best to see that the want
is filled.
Communications for this department should be
addressed to the Editor, Technical Department,
The Music Trade Review.
RULES ON BUSINESS ETHICS
As Laid Down by the Commercial Ethics Com-
mittee of the National Association of Credit
Men at Its Recent Convention in Cleveland.
(Special to The Review.)
CINCINNATI, O., June 24, 1913.—The commercial
ethics committee of the National Association ot
Credit Men, which met in convention in Cincinnati
last week, reported these recommendatons:
First—It is improper for a business man to par-
ticipate with a lawyer in the doing of an act that
would be improper and unprofessional for the law-
yer to do.
Second—It undermines the integrity of business
for business men to support lawyers who indulge
in unprofessional practices. The lawyer who will
do wrong things for one business man injures all
business men. He not only injures his profes-
sion, but he is a menace to the business community.
Third—To punish and expose the guilty is one
thing; to help the unfortunate but innocent debtor
to rise is another; but both duties are equally im-
portant, for both duties make for a higher moral
standard of action on the part of business men.
Fourth—In times of trouble the unfortunate busi-
ness man has the right to appeal to his fellow busi-
ness men for advice and assistance. Selfish inter-
ests must be subordinated in such cases, and all
must give their co-operation and help. If the debt-
ors assets are to be administered, all creditors must
join in co-operating to that end. To fail in such a
case is to fall below the best standards of com-
mercial and association ethics.
These rules were framed principally to govern
the activities of creditors in the administration of
a solvent estate.
VISITED THE A. B. CHASE CO. PLANT.
(Special to The Review.)
What I said last week about readers of this
department taking interest in the kind of matter
handed out to them every week was meant quite
sincerely. There is no doubt whatever that things
would be a great deal easier for everybody all
NORWALK, O., June 30, 1913.—Recent visitors at
the large plant of the A. B. Chase Co. included
Mr. and Mrs. Clarence Campbell, of Denver, Colo.,
and J. McCann, sales manager for Hutchinson
Bros., of Shreveport, La. The guests inspected
the various departments of the factory and saw
the process of making the A. B. Chase pianos and
Artistano player-piano in their various degrees of
manufacture.
Manufacturers! Dealers! Tuners!
Grinnell Bros, have reopened their store in Pe-
toskey, Mich., with Edward Barkham as manager.
ON TAKING INTEREST.
Yellow Ivory Keys Made White As Snow
"Caplan's Patent Ivory Polish" will do it
Samples 60 cts. and $1 (dollar size will
whiten four sets of piano keys). Fcv
further particulars write to
HENRY CAPLAN, 49 Sherman Ave., Jersey City, N. J.
OLDEST PLATE MAKERS
IN AMERICA
The Tuners' Magazine
A Monthly Journal, Devoted to the Joint Interests of
the Manufacturers and Tuners of
Musical Instruments.
SWMNER L. BALES, Editor and Proprietor
No. 1 San Rafael, Cincinnati, Ohio
Issued the First of the Month.
Terms, $1.00 per Year.
THE
DAVENPORT
PIANO PLATE
CSTMUSHEO 1MB
Joha Davenport Co.
Stamford,
Conn.
THE MUSIC TRADE REVIEW
12
OuTTECHNICAL DEPARTMENT
CONDUCTED BY WILLIAM BRAID WHITE.
IRON AND COPPER WINDINGS.
The other day I received a letter from a gentle-
pecially complex nor especially important. But it
has frequently been made so when something was
to be gained. And thus it was this time. Briefly,
my correspondent was concerned over the fact
that somebody else had been knocking a certain
make of piano, on the ground that said piano was
strung with iron wound bass strings.
Now, this question of iron as against copper
winding has furnished prolific sources of con-
troversy for a good many years, and yet the basic
facts concerning the matter are little understood.
In reality the whole thing is very simple, and a
little thought on the subject will clear up the
difficulties at once. For the benefit, however, of
those who are uncertain of their ground and to
kill off any possible chance of controversy where
readers of this page may run up against the same
knock, I append here some facts that ought to
decide everything definitely.
In order to know what thine adversary has up
his sleeve it is distinctly helpful to have full and
complete knowledge of any matter that may be
under debate. In the present case we have to con-
sider the fact that the fundamental proposition in
any problem involved in bass strings is weight
and that only. The design of the bass strings
must not proceed on any basis at all different from
the rest of the scale. The method of design
must be modified, but the principle remains the
same. Now, when we undertake to design the
strings for a piano we have to consider how to
obtain certain sounds of definite frequencies, with
the right sort of tone quality and at the right
tension. Practical experimentation has fixed these
things within fairly definite limits, so that we
know pretty well how far we can go in any direc-
tion. The treble or unwound strings are first of
all designed as to length, for we know that we
have to come within certain limits and practical
experience has shown that the conditions can be
met when the note C 7 is represented by a string
approximately 2 inches (52 mm) in length. From
this beginning we are able to lay out the lengths
of all other strings, making an allowance for in-
crease of weight upon a definite basis, whereby the
length of each string downwards increases pro-
gressively. This we can do in perfect accord with
mathematical accuracy until we reach the point
where the increasing length o'f the strings can no
longer be accommodated within the limits of the
piano case. Then the wound string for the first
time becomes a necessity.
Now, the sole object of providing a wound string
is to increase the weight without increasing the
length. The factors of length, weight and tension
are interdependent, and it is necessary to accom-
modate any change on the one by equivalent
changes in the other. When we no longer can
space out the string lengths according to mathe-
matical rule, we have to disturb the weight factor,
and this we do by winding wire of some soft
metal over the steel wire of the string proper.
The sole object of this winding is to weight the
string until the length factor has been artificially
cared for and compensated. That, and that alone,
is the object of the winding.
FAUST SCHOOL OF TUNING
Piano, Player-Piano, Pipe and Reed Organ Tuning and Re-
pairing, alio Refnlating, Voicing, Varnishing and Polishing.
This formerly was the tuning department of the New Eng-
land Conservatory of Music, and Oliver C, Faust was head
of that department for 20 years previous to its discontinu-
ance.
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.
17*29 GAINSBOROUGH ST., BOSTON, MASS.
When we come to consider the mechanical facts
involved in the winding of a soft wire around
a steel core, we have to deal with other factors.
Here for the first time the matter of material
begins to take on importance. Other things being
equal, it is obvious that the less bulky the wrap-
ping wire is in proportion to its weight, the better
suited it will be for its purpose. Now the specific
gravity of copper wire is to that of iron = 44 : 39.
Thus, other things being equal, copper should be
more suitable than iron for the purpose of wrap-
ping wire, since it is heavier bulk for bulk, and
thus a lighter drawing of wire can tie used for a
given weight.
Again, copper wire tends to be more "springy"
than wire made of iron, and hence clings better
to the core. This is another advantage, especially
in heavy strings. Thus we have two important
advantages for copper over iron covering wire.
But it is also alleged on the other side, and
with much plausibility, that the vibration of ,a
string covered with copper wire is not as free as
when the wrapping material is iron. For this
reason many most respectable piano makers prefer
to use iron wire. This last consideration is of
great importance, and it will be found that many
pianos of the highest grade are built with at least
some of their strings wound with iron wire.
It should therefore be noted that the fact of a
piano being strung with copper wire is by no
means an indication of its superiority, tior is the
fact that iron wire is used any proof of inferiority.
Moreover, there is yet another question. The
peculiarities of each individual scale are to be con-
sidered. It is frequently found that a change from
one to the other kind of wrapping will produce an
improvement in a given scale. Here the condi-
tions are to be traced to some peculiarity in de-
sign, which has produced a particular sort of
tone to which one sort of wrapping wire is better
suited than another.
I particularly lay stress upon these points be-
cause many pianos of inferior grades are strung
with copper wound strings. No one will be in-
clined to deny that copper winding is better look-
ing, smarter in appearance. The copper wound
bass look's as if it were a great deal more ex-
pensive and the unsuspecting purchaser is likely
to fall for it readily. But if the salesman is honest
no such talking point will have any part in the
transaction. Certainly, whenever a reader is
brought into a controversy, as party thereto or as
umpire, regarding the relative merits of iron and
copper as wrapping material, he may remember
what has been said here and try first of all to
discover whether the piano maker did not have
some special reason for the use of the one as
against the other.
round if a little hint were dropped once in a while
hitherward. I do my very best to give what is
asked for, what is needed and what is in demand
in the way of technical information. I am not
infallible, however, and many times no doubt read-
ers are disappointed at finding on? topic and not
another treated on this page. In that case let
them get busy with pen and ink and tell me what
they want. I shall do my best to see that the want
is filled.
Communications for this department should be
addressed to the Editor, Technical Department,
The Music Trade Review.
RULES ON BUSINESS ETHICS
As Laid Down by the Commercial Ethics Com-
mittee of the National Association of Credit
Men at Its Recent Convention in Cleveland.
(Special to The Review.)
CINCINNATI, O., June 24, 1913.—The commercial
ethics committee of the National Association ot
Credit Men, which met in convention in Cincinnati
last week, reported these recommendatons:
First—It is improper for a business man to par-
ticipate with a lawyer in the doing of an act that
would be improper and unprofessional for the law-
yer to do.
Second—It undermines the integrity of business
for business men to support lawyers who indulge
in unprofessional practices. The lawyer who will
do wrong things for one business man injures all
business men. He not only injures his profes-
sion, but he is a menace to the business community.
Third—To punish and expose the guilty is one
thing; to help the unfortunate but innocent debtor
to rise is another; but both duties are equally im-
portant, for both duties make for a higher moral
standard of action on the part of business men.
Fourth—In times of trouble the unfortunate busi-
ness man has the right to appeal to his fellow busi-
ness men for advice and assistance. Selfish inter-
ests must be subordinated in such cases, and all
must give their co-operation and help. If the debt-
ors assets are to be administered, all creditors must
join in co-operating to that end. To fail in such a
case is to fall below the best standards of com-
mercial and association ethics.
These rules were framed principally to govern
the activities of creditors in the administration of
a solvent estate.
VISITED THE A. B. CHASE CO. PLANT.
(Special to The Review.)
What I said last week about readers of this
department taking interest in the kind of matter
handed out to them every week was meant quite
sincerely. There is no doubt whatever that things
would be a great deal easier for everybody all
NORWALK, O., June 30, 1913.—Recent visitors at
the large plant of the A. B. Chase Co. included
Mr. and Mrs. Clarence Campbell, of Denver, Colo.,
and J. McCann, sales manager for Hutchinson
Bros., of Shreveport, La. The guests inspected
the various departments of the factory and saw
the process of making the A. B. Chase pianos and
Artistano player-piano in their various degrees of
manufacture.
Manufacturers! Dealers! Tuners!
Grinnell Bros, have reopened their store in Pe-
toskey, Mich., with Edward Barkham as manager.
ON TAKING INTEREST.
Yellow Ivory Keys Made White As Snow
"Caplan's Patent Ivory Polish" will do it
Samples 60 cts. and $1 (dollar size will
whiten four sets of piano keys). Fcv
further particulars write to
HENRY CAPLAN, 49 Sherman Ave., Jersey City, N. J.
OLDEST PLATE MAKERS
IN AMERICA
The Tuners' Magazine
A Monthly Journal, Devoted to the Joint Interests of
the Manufacturers and Tuners of
Musical Instruments.
SWMNER L. BALES, Editor and Proprietor
No. 1 San Rafael, Cincinnati, Ohio
Issued the First of the Month.
Terms, $1.00 per Year.
THE
DAVENPORT
PIANO PLATE
CSTMUSHEO 1MB
Joha Davenport Co.
Stamford,
Conn.
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