August 2015
Sketch by Ronald Stein of Mr I Jaques-Davis tuning a Fazioli pianofor the Swiss pianist Francesco Piemontesi’s rehearsal with thePhilharmonia Orchestra at the De Montfort Hall, Leicester in May
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Editorial — 4President Writes — 5Membership News — 6PTA Training Day — 8Images from Piano History — No 6 — 9More Plagiarism Anybody? — 10Students’ Pages — 14Europiano Report — 15Piano Wire — 16Piano Wire, Re-scaling & Tonal Aesthetics — 18PTA Interactive Forum House Rules — 25PTA Piano Sales Encouragement Scheme — 25
Council Report — 26PTA Diary — 27
The next deadline for PTA News is: Friday 25th September 2015.PTA News is the Newsletter of the Pianoforte Tuners’ Association. All views expressed are
those of the contributors, not necessarily reflecting those of the PTA or the editorial team.Please send items for publication to ‘The Editor’, preferably via email with photographs sent
separately from the text. Posted items can only be returned if accompanied by an SAE.Please obtain the necessary permission before submitting copyright items.
PTA News, 49 South Hamilton Street, KILMARNOCK, KA1 2DTEmail: [email protected]
To advertise in PTA News, at very reasonable rates, please contact:Mr Stephen Venn, 96 Anmore Road, Denmead, WATERLOOVILLE PO7 6NT.
Email: [email protected]
CONTENTS
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It is not often that original artwork is a picture of a piano tuner orthat it graces the front cover of a magazine. It is good therefore to seethe sketch by Ronald Stein of PTA Member Ian Jaques-Davis on ourfront cover.
I have included photographs of all the new Executive Council Memberson the Membership pages. Except for the photograph of Andrew Giller, all were takenby Andrew Jamieson at the Convention in Hereford.
I hope to see you when you attend the Training Day in October; I think that it willbe a very worthwhile day and some places are still available.
We continue with the superb series “Images from Piano History” by Dr A Laurenceabout ‘The Original Minipiano’ on page 9. This series initially inspired Peter Crunden’sPiano Plagiarism article in April’s PTAN, and following that, on page 10 you will find
“More Plagiarism Anybody?” Some of you may find this rather controversial in parts.I’d be interested to hear what you think. More photographs with explanations are to befound on pages 24 and 25.
We have now come to the end of the PTG’s article reprinted in Students’ Pages andwe thank the PTG for allowing us to use this. If anyone has any items which may be ofinterest to Students, please send them to me.
Brian Frost’s report of the Europiano Degree meeting and Europiano AGM heldin Frankfurt is on page 15.
John Thompson’s interesting article about piano wire on page 16 prepares us verynicely for the full length article from the American Piano Restorer, Designer andManufacturer, Arno Patin, which starts on page 18. There was some discussion aboutwire on the Plist some time ago and I’d hoped to print these articles at that time.With limited space and time restraints, other articles took precedence. I am delightednow to have Mr Patin’s permission to print this in PTAN. Please note that Arno Patintells me that he is no longer the representative for Paulello wire in the USA.
The guidelines agreed by Council for posting on the Forum are printed on page 25.Yumi Shigeno has agreed to write the reports for the PTAN of EC meetings taken
from the minutes produced by Annette Summers.I include a photograph from David O’Donnell from his time at the PTG Convention
in Denver in July. David will write a report of the PTG Convention which will appearin next issue of PTAN.
I hope that you enjoy this issue. Please consider writing something for thenewsletter! Send items of interest, articles, photographs and any other material forinclusion in future issues.
The usual address is [email protected]
EDITORIALANNE BURTON
DEADLINE FOR PTAN ARTICLES: FRIDAY 25th September 2015
Articles, letters and photos to: [email protected] or to address on page 3.Please email photographs and text separately.
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THE PRESIDENT WRITESANNE BURTON
It is lovely to see that the Membership of the Association isincreasing with new applications and new Members. You may havenoticed a new numbering for Membership ID. When someone appliesfor membership in whichever category and are added to the database, thenumber allocated to them will remain with them throughout their PTA life.For example, starting off as a new PTA Student, they would receive a number e.g.13xx and if later they become an Associate, they would become Associate 13xx andafter taking the Test becoming Member 13xx or Technician Member 13xx, later stillperhaps an Honorary Member 13xx and finally Retired Member 13xx. The ID numberremaining the same while the category of membership changes with time
Names and addresses of prospective new Members, Associates and Students arepublished in the newsletter so that it gives an opportunity to raise any concernsconfidentially prior to applications being accepted. If no comment has been received,the Executive Council approves the application. If any comments are received,references may be taken up in order for Council to be satisfied as to the suitabilityof the applicant.
The EC have agreed guidelines called ‘House Rules’ which will be put in placefrom the outset of the Forum, see page 25. There is no date yet for the start of theForum, however it may be a good idea to start going through PList emails now andsave any items which you would like to keep, as the changeover, when it comes,will be a complete break.
I’m looking forward to the Training Day in October when we will meet MarioIgrec. Places are filling up fast. As availability is limited, book as early as you can;the booking form is on the Members’ area of the website.
The date of Saturday 14th November has been suggested for a Scottish AutumnLunch in Central Glasgow. If you are interested please let the Secretary know so thatwe can ascertain numbers.
Finally I’d like to pass on Andrew Jamieson’s thanks to the PTA for the gift thatwas presented to him at the AGM.
Anne BurtonPTA President
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MEMBERSHIP NEWSANNETTE SUMMERS
A warm welcome to new PTA Members:
1369 Mr R M Parish76 Gregory AvenueWeoley CastleBIRMINGHAMWest MidlandsB29 5DUTel: 0121 453 5942Mob: 07979 595982
1357 Mr Fuk Chuen TongFlat#B0213, 2/FHong Shun HouseCheung Hong EstateTSING YI, NTHong KongTel: 00 852 6304 4081Email: [email protected]
An application to become a PTA Member has been received from:
Mr Daniel P KeigherCastle StreetROSCOMMONCo. RoscommonConnaughtIrelandTel: 09066 26124Mob: 08527 56001Email: [email protected]
An application to become a PTA Associate has been received from:
Mr Jonathan C PearceBarton RoadThurstonBURY ST EDMUNDSSuffolkIP31 3PDTel: 01359 233390Mob: 07826 705554Email: [email protected]
Photos of Council Members at the Hereford Convention
Anne Burton
Yumi Shigeno and Tania Staite
Gary Whiteland Finlay Fraser
Stephen Venn
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A warm welcome to new PTA Students:
1361 Mrs Moira Morgan48 Green LaneHARROGATENorth YorkshireHG2 9LPTel: 01423 816196Mob: 07851 370721Email: [email protected]
1362 Miss Lindsay N Garvin30 Huntingdon RoadTHORNTON-CLEVELEYSLancashireFY5 1SRMob: 07880 447034Email: [email protected]
1363 Mr Christopher S RamseyMashamsWorkhouse RoadHigh LaverNr ONGAREssexCM5 0DZTel: 01277 890242Mob: 07938 141394Email: [email protected]
1371 Mr Rafael Gamiz Amores25 Sawyers CloseNEWARKNG24 2HFMob: 07576 301228Email: [email protected]
Please send all changes of address, telephone and email to The Secretaryusing the contact details on Page 27
Shaun McLoughlin
Lewis Flisher
Michelle RuddAndrew Giller
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PTA TRAINING DAYSaturday 17th October, 2015
“Priorities, Discoveries and Touch”With Mario Igrec Author of ‘Pianos Inside Out’
10am – 5pm Steinway Hall, 44 Marylebone Lane, W1U 2DBA wonderful opportunity to hear Mario talk about these topics:● What Matters, What Doesn't: Prioritizing Work in a Changing Market● Discoveries, Surprises, Lessons Learned on the journey to
‘Pianos Inside Out’● Practical Touch Analysis: A Four-step, Non-invasive Grand Touch
Evaluation Method“Practical Touch has progressed to new insights and new tools, all aimed atremoving unnecessary complexity and inefficiency. This time saving approach
will put you in control and allow you to improve the outcome of your action workwith little additional time and cost added to your projects”
£55 for Members/Associates; £75 for non-Members; £10 PTA StudentsBooking form available on our website. Places strictly limited
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IMAGES FROM PIANO HISTORY — NO 6THE ORIGINAL MINIPIANODR ALASTAIR LAURENCE, JOHN BROADWOOD & SONS LTD.
Origins: First manufactured by the firm of J. Erbe, at Eisenach, Eisenach, Germany,probably from the early 1920s.
Original design: Probably by a certain Herr Maas, about whom nothing is knownas present.
What happened next? In May 1929, the design was licensed to the firm of H. Hicksand Son to manufacture in London, but this initiative ceased after a short period.
And then? By the early 1930s, the Stockholm, Sweden, firm of C. A. V. Lundholmhad started to make it. Lundholm appears to have purchased the design.
And then? In 1934, Percy Brasted acquired the design, on behalf of W. G. Eavestaffand Sons, and moved production of the original minipiano to Hermitage Road,Harringay, North London, where subsequent models bore the trade mark Eavestaff.
Its special features: a) Its height is only 84cm (2' 9”), perhaps the most diminutiveupright ever seen. The casework is simple, functional and Spartan.
b) The action is at the rear of the instrument, with its hammers striking towardsthe player.
c) The soundboard is actually the casework ‘bottom door’, and, unusually, both theribs and the bridges are attached to the one side of the soundboard (see photo).
d) The tuning pins are located below the keyboard, and specially-made long tuningpins pass through the entire thickness of the tuning plank in order to reach the stringsat the back of the instrument.
Problems and limitations: The original version has only six octaves, and it hasnumerous monochord strings in the bass, making the tonal quality here weak and
‘thin’; and it was difficult and highly irritating to tune because of the inaccessibilityof the stringing at the rear of the instrument. It was claimed that the tuner ought to besome kind of ‘contortionist’ in order to carry out a satisfactory tuning!
Merits: compact, portable and affordable – half the cost of a conventionallarge upright.
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Anyone who was taught piano technology by Charles Gilbey atthe LCF during the 1960’s will remember that he was a great source ofanecdotes from our industry and indeed life itself.
I remember on one occasion he quoted a saying much used back in theday that “The British Piano Industry never got over Prince Albert”. He also said oneof the reasons for this was that there were many German Governesses employed bythe British bourgeoisie and they tended to recommend pianos from their homeland.As we all know, there were a great many German pianos exported to Britain for themto choose from!
Noel Coward in his satirical song The Stately Homes of England even refersto a need to “pawn the Bechstein grand”. I feel sure Coward’s lyrics were equallyapplicable to the aristocratic piles situated in the other home countries of ourtenuous union.
Added to this was Germany’s dominance of musical culture, in 1904 Oscar AdolfHermann Schmitz (who didn’t seem to like us very much) referred to this country as
“A Land without Music”; it was arguable that we hadn’t produced a ‘Great’ composersince Henry Purcell (1659-1695).
However, Britain did admire and respect Germanic music, so much so, that in1819, Thomas Broadwood gave a grand piano of that marque to Beethoven and paidfor its transport out to the maestro living in Vienna, he was held in that much esteem.
Britain lionised German composers and many of them visited here and benefitedgreatly from doing so. We even had our own member of the Bach family - JohannChristian Bach, often referred to as “the London Bach”. He was the youngest son ofthe great J.S., settled here in 1761 and died in 1782; he was buried in the graveyardof St Pancras Old Church, London. Unfortunately, his life was not one of unalloyedhappiness; he died in considerable debt due to almost all his wealth being embezzledby his steward. However, he was highly regarded; Queen Charlotte (who was alsoElectress of Hanover) covered the expenses of the estate and provided a life pensionfor his widow.
Joseph Haydn was little better than a flunky to the Esterhazy family when he firstarrived in London, but his career really took off during his sojourn in this country.Broadwoods put a room at his disposal in their Great Pulteney Street, Londonpremises for him to use for composition. We should not forget that Broadwoodsitself had evolved from the workshop of the German/Swiss harpsichord makerBurkhard Tschudi, the name of the business started to change when the ScotsmanJohn Broadwood married his daughter.
Perhaps of all who came here, the most eminent was Georg Friderich Händel,his Messiah and Zadok the Priest are now part of our national fabric. In WilliamDale’s book “Tschudi, the Harpsichord Maker” published in 1913 he states that
“The most important factor in Tschudi’s success was his friendship with Händel.According to Tschudi’s grandson, Händel was a constant guest at his table, which wascovered with German dishes and German wines.”
MORE PLAGIARISM ANYBODY?BY PETER CRUNDEN
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Dale also says “But we must dismiss from our minds modern ideas concerningbusiness, and rest assured that no social stigma was attached to the fact that Tschudiwas, after all, only a craftsman, nay even a mechanic, who lived at his shop.Everything indicates that he mingled on equal terms with the famous of his day.Handel was but the beginning of a number of musicians who sought his house andwere welcome at his table.” Obviously it goes without saying that the membersof our PTA fraternity still bask in that same social equality today.
The friendship with Burckhard Tschudi also gave Händel the opportunity to speakhis mother tongue. Dale refers to Handel purchasing a two manual harpsichord fromTschudi to give as a present to Anna Strada, an Italian Soprano who had remainedloyal to him over the years. When he was buried in Westminster Abbey; more thanthree thousand mourners attended his funeral, which was given full state honours.
Dale mentions that “Burney is our informant that Johann Zumpe was one of hismen”, presumably this means that Zumpe was at one point employed by Tschudi.The German Zumpe is accredited for making the first square pianos in London.This helped to attract from Germany the much mentioned “twelve apostles ofthe trade”; of their number I can only remember once seeing the name Pohlmannon a modern piano. Tschudi’s main rival in the business of harpsichord makingwas Jacob Kirckman, yet another native of Germany.
Even more exalted Germans came such as Sir William Herschel and his sisterCaroline. They both made important advances in the science of astronomy;William discovered that Uranus was not a star but a planet, the first planetto be discovered since antiquity. His sister Caroline’s most significant contributionswere the discoveries of several comets and in particular the periodiccomet 35P/Herschel–Rigollet, which bears her name. They were both responsiblefor the construction of giant astronomical telescopes.
As if all this were not enough William Herschel was also a brilliant composer,I urge anyone reading this to type his name into You Tube; I doubt you will bedisappointed by what you hear!
So many Germans came here; Mendelssohn and his sister Fanny who werepersonally shown the Thames Tunnel by Isambard Kingdom Brunel and whiletravelling through Scotland, Mendelssohn was inspired to write his Hebrides Overture(Fingal's Cave) and the parents of Frederic Delius who settled in “Little Germany”Bradford because of the wool business.
My contention is this; “the British piano trade” had a great deal more than justPrince Albert to “get over”! There is little doubt that Britain benefited considerablyfrom this injection of German musical culture. So how did British pianomanufacturing cope with the above? Why, by passing off British made pianos asbeing German. Obviously, not all makers indulged in this practice and Brit’shave made some of the most important contributions to the development of themodern instrument.
“Imitation maybe the sincerest form of flattery” but the plagiarism did go toridiculous lengths. The worst examples of this must be the squalid ‘baby’ grands madein the 1920s/30s with simplex actions and fictitious Germanic names on the fall. Someof these were so bad as to be untunable!
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You just know that if you are called to an instrument under the name of Wagneror Mozart it will be a heap of crapola. Sometimes one finds allusions to the Teutonicsuch as Snodworthy & Sons – London and Hamburg. The most ridiculous exampleof this I ever came across was a Bechstein replica upright with The London, Berlin& Hamburg Piano Company on its fall. They seem to have had all bases coveredwith that one!
However, when it came to Bechstein replicas George Rogers & Co was the firmthat seemed most fawning on our German cousins; many pianos of that marque werebadged with Germanic heraldic devices such as the double headed eagle, which seemsa bit silly when ‘Rogers’ is written on the fall, even some of their later instrumentshave a stylised heraldic creature strangely reminiscent of Bechstein’s own cast intothe frame at the bass break. Despite all that they did make a good piano.
I may be doing them an injustice because I have seen on the web claims that theyactually made pianos for Bechstein in London during the 1890s. Can this be true?I can find no reference to this under Wikipedia’s Bechstein entry although it does state
“Young Carl Bechstein studied and worked in France and England as a piano craftsman,before he became an independent piano maker. His first pianos were made for othercompanies” so Bechstein’s founder had some connection with England. PerhapsDr Laurence’s new book sheds some light on it?
I have tuned a few of the London made Bechstein ‘Baby’ grands but I had alwaysthought they came much later than 1890 and had some connection with Wigmore HallPiano Galleries. In his article about these pianos (PTA News 1/2/08) Adrian Carpentersays that Bechstein Germany have little info’ but believe they were made between1930/39. In PTAN 4/8/08 he mentions that Roy Sagar sent catalogues and a photo ofthe London factory to him and that David Hogben of Courtney Pianos had furnishedinformation that some of these pianos were made under licence in the Challen factory.
The above surprises me regarding a “British Bechstein” factory because thesepianos seem rather rare. The instruments I feel are of a better quality than Challen
‘baby’ grands of that period. Also they are very different to Challen whereasBroadwoods made in the same building were identical except for the name.
So what was Challen’s excuse? Were they also making pianos for Bechstein muchearlier? The 1907/08 piano in the photographs is owned by one of my customers.I have not submitted any pictures of original Bechstein uprights for comparisonbecause they are so common. There are plenty of photos on the net should you needone but I cannot believe that any PTA member will not have tuned lots of them.
Mercifully, we are spared pseudo “Heraldry” on the Challen’s frame but the pianowas so obviously “inspired” by a Bechstein upright, whether its string scale wascopied I don’t know, but so much else has been, the complicated double rocker softpedal movement peculiar to Bechstein is a bit of a ‘giveaway’. Unlike Bechsteinoriginals the actual pedals are attached to the underneath of the instrument.
If you have ever wondered about the royal coat of arms used on later Challenpianos which just has “By Royal Appointment” below it – it is genuine! Just take alook at a Portuguese flag and you will see at its centre the same device, so the coatof arms used on Challen pianos is from their former royal family. The last reigningPortuguese monarch was King Manuel II who was deposed in 1910 and died in exileat his home at Fulwell Park, Twickenham on 2nd July 1932.
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However, this has not inhibited Challen from emblazoning this coat of arms onits pianos, presumably, right up to the present day. It is conceivable that he purchasedhis piano whilst living in Twickenham. I first got onto this during a holiday on theisland of Madeira, (a Portuguese possession) when visiting a public park I noticed setin some flower beds stone like coats of arms that must once have adorned publicbuildings. I thought they looked familiar; I’d been staring at them for years – on theinside Challen pianos!
Charles Gilbey and I both lived in North Kent, shortly before his death in 1979he asked me to take over some of his connection. One of his former customers wasa lady piano teacher who owned a Rogers grand of a type I’d not seen before or since.My first thought was “This piano is aping a Steinway”. They had even plagiarisedthe semi circular name plate cast into the frame at the extreme treble. I decidedto remain quiet and not give the lady my opinion.
I tuned her piano for a few more years until she retired when she needed to sellit to give herself more space. It was then I discovered she knew more than I did,she told me that her piano was the last of a very few grands of this type madeby Rogers before Steinways either took or threatened legal action. Maybe Alastair’snew book or other PTA Members might be able tell us more about this episode?
Note the re-polished 1930’s Eavestaff Miniroyal music stool.
Above pictures show the “double rocker” movement, the suspended bridge, soundboardand frame, they look identical to a Bechstein!
Please turn to pages 24 and 25 for more photographs.
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STUDENTS’ PAGESPTG Review38* Steps to Endearmentby Sid Stone, RPT, Chairman, Ethics Committee36. Change appointments.From time to time you may have to reschedule an appointment. Consider givinga discount if you cannot make the appointment. My line is this: “It is our policy thatif we have to change an appointment we will give you a $10 discount if we canreschedule.” That may help to make up for any inconvenience you have caused theclient. On the other hand, if the client calls to change an appointment, be sure to thankthem for letting you know.37. Handle complaints promptly and properly.Address the complaint with the attitude that the customer is always right. This meanslistening without interrupting. Be understanding and sympathetic. The client may saya certain note does not sound right. Don’t give the impression that they do not knowwhat they are talking about, even though you think it is in their head. Do not flaunt yourexpertise. If you agree with them, compliment them on their keen sense of hearing.Explain the difference between tone and tune and how each is approached. Even if youdo not hear what they hear (we all have been there), you should do something.A hammer filed and/or needled may be all it takes. Then tell them it sounds better.A common complaint is buzzes and other noises. Past Journals have articles on thissubject. The Home Office also has a cassette tape called “Name That Noise.” This mighthelp you locate the problem. I’ve been told that the tape from the Home Office has lostsome of its clarity. If that is the case, I have the original.38. Always live up to PTG’s Code of Ethics.
1. I will act honourably and in a professional manner.2. I will render the best possible service under the circumstances, always keeping
the best interests of my client in mind.3. I will engage only in fair trade practices in the knowledge that I am reflecting
the honesty and integrity for which the Piano Technicians Guild stands.4. I will use the name and trademarks of the Piano Technicians Guild properly
and will encourage others to do the same.5. I will strive to upgrade my professional skills, and I will encourage and help
others to do the same.6. I will promote, in any way that I can, good will toward my profession and
toward the music industry.If you heed these 38 steps, you will be the most endeared piano tuner/technician in yourarea. You will also receive the best advertisement in the world, called “word of mouth.”
Extract from article reproduced with permission from the PTGNotes
*38 Steps … one step beyond Yamaha’s 37 Steps.References to the client have been changed to become gender neutral
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EP Degree meeting in Frankfurt 17th April 2015
14 Italian candidates took the EP Degree, level 1, in Cremona;11 passed, although the standard achieved was not very high.The Spanish Association sent 15 delegates to the German training schoolin Ludwigsburg in February to prepare them for the new ‘level 2’ degree. The workrequired includes replacing hammers and dampers on one-octave models, makingbass strings and carving bridges.
The theory part of the ‘level 2’ degree will be administered from Germany.The exam papers will be translated into the language of the applying country.The papers would then be marked by a German examination board in Germany.
There will be a meeting in Ludwigsburg on June 20th to further developthe ‘level 2’ degree and all countries are invited to attend.
EP AGM meeting in Frankfurt 17th April 2015
It was decided to hold the meeting in English but translations could be requestedat any time. The President, Nils Henrik Jansen, reported that there had been 2 boardmeetings since the Le Mans Delegates’ meeting. He announced that he will bestanding down at next year’s AGM (April 2016).
A lot of the board’s time had been taken up with helping to organise theSeptember EP Congress in Moscow. There was an appeal for more people to applyfor the Congress as to date there had only been 20 applications. It was decided toscrap the deadline for the early booking rate. The number of seminars and technicalclasses will be reduced and the fee for attending will be reduced by 80 Euros to 500Euros. The hotel costs will remain the same.
Although the accounts showed a deficit of 5517 Euros for the past year,the treasurer reported that EP has good reserves. There will an additional costof 7000 Euros to subsidise the Russian Congress. This had been decided ata recent board meeting.
The German Association reported that in a break from tradition they will beholding a ‘mini’ Convention in Germany in this Congress year. They were worriedabout attendance at their AGM if held in Moscow.
The meeting was informed that the French Association would be holdinga meeting on April 24th to decide whether to withdraw their Membership fromEuropiano. All delegates attending the AGM were invited to write to the FrenchAssociation’s President to ask him reconsider this drastic action. Vice-PresidentCarlos Siguenza offered to attend the meeting to represent EP.
EUROPIANO REPORTBY BRIAN FROST
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PIANO WIREBY JOHN THOMPSON
Some of us like to tune pianos and perform the occasionalrepair, others like to take on more demanding jobs such as hammer replacement orrestringing. For piano restorers, the opportunity to rebuild a piano and make it soundnew again is what makes us really enjoy our work. If you re-string a piano once amonth or just once a year, there is great satisfaction in seeing and hearing the endresult. To the best of my abilities I have always tried to improve the instruments Irebuild and use the newest materials and technology. By offering the customer moreoptions, you can give them a better restoration for their specific needs. With regardsto string work, I have recently been researching new ways to improve the instrument’ssound, which took me to Stephen Paulello’s website. What interested me was the useof his stainless wire on Feurich grands. From reading more on his website, I found thatin 1996 following lot of research, Stephen Paulello invented new piano wires. Theseare 5 types of steel wire with different resistances (hard to soft). This has led to a newapproach to stringing using different types of steel in the same scaling called hybridscaling. The principle of hybridization consists of combining several types ofsteel within the same scaling of the piano in order to harmonize and optimize the stressrate throughout the piano. Mastering the stress rate means being able to enhance therichness of the sound and to balance the tone. By measuring the speaking lengths andgauges of wire used in the piano, you can use a combination of 2-4 different types ofwire in order to smooth or improve the sound of the wire, which is best when it is ata certain percentage of its breaking point (stress rate). Hybrid scaling also hasthe advantages of the tuning becoming stable more rapidly and it being easier to tune.
This led me on to another area of research, optimising the scale. This is using theinformation measured from the strungback and inputting this into a software programin order to help adjust, if necessary, the thickness of the wire used. Wire diameteraffects many factors including tension, inharmonicity, loudness and more. The twosoftware programs I have been trying out are ‘Abacus’ from Arno Pianos in the US,and “Easy String Calc.” by Hans Velo in the Netherlands. There are many programson the market but Arno’s has incorporated Stephen’s wire and has the ability to seethe changes in stress rate when changing the type of wire used. His program alsoallows you to add data from the Lowell down bearing gauge which I have also beenexperimenting with. This is a massive amount of information to learn about so bothArno and Stephen offer re-scaling services if you want to get on with other things.Rescaling is not new; bass string makers have been recalculating bass string designsfor many years to help reduce inharmonicity — which was investigated and calculatedby Klaus Fenner in the 70s.
Using the new knowledge I have learnt, I hope to improve the pianos I re-stringand not just use the original wire gauges. It is also useful when we come across a lot ofrusty strings. This way we can put a larger smile on the customer’s face and giverestorers a new path to tread. It is worth noting that if you come across a Feurich grand
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piano (Halin in China) and you have to replace a string, the string will be a Nickelplated wire from Stephen. Your replacement using a different wire will change thetone slightly as the other strings will have been made differently. This could be saidfor other manufacturers like Yamaha etc. but Feurich does have the Nickel plated wireso you would be removing its stainless property. I decided I would be using the Nickelplated wire from Stephen; ordering 2kg rolls is more cost effective and also reducesthe probability of falseness. The stainless Nickel plated wire is nothing like the tinplated wire most of us have come across; it is harder and does not affect the tone. Ifyou have a piano which might see a lot of humidity changes or a hire piano whichsometimes might find itself in a marquee, stainless wire would be the best choice forthis situation as it will not tarnish and you can string without gloves or chalk. Andmost importantly, the tone will not change with time compared to ordinary stringswhich get rusty. At the moment, the wire can be ordered from Stephen’s website orthe German part suppliers, who also sell the 2kg wooden wire containers (if you doa lot of stringing) and the standard 500g rolls. I had my carpenter friend make woodencontainers for my 2kg wire. If you need any, email me. The types of wire, Type 1,Type 2 and Type O are mainly designed for early instruments as these are soft wires,but the O wire is useful in the tenor section of modern instruments. The M type of wireis for modern instruments and the XM wire is a harder wire for pianos which see a lotof use. I look after a Yamaha C6 which sees a lot of use and treble strings do break.When I restring it I intend to use XM wire to reduce the annoyance of breakages.The tension stays the same but the wire can take a higher breaking strain, reducingstrings breakage.
I have found it fascinating to use my software programs and see the results in thegraphs. I am sure the older piano scale designers would have given their right arm forour modern computers and software. I have used the software to good effect on aMarshall & Rose baby grand. I asked Hans Velo for a new scale for a Steinway modelO I was rebuilding. This helped equalize the tension, increase volume and decreaseinharmonicity in certain areas, but it is a balancing act. Increasing tension by using athicker gauge will also increase volume but will also have the downside of increasinginharmonicity. Both pianos have been improved by using the software, mostly byevening out the tension. Some technicians will want to experiment by listening to thetone; it is all personal preference. With regards to hybrid stringing, the maindisadvantage would be informing the future technician of the types of wire used, butthis could be overcome by placing a handbook or print-off in the piano. I am sure thewire will become more widely available.
http://home.kpn.nl/~velo68/ for the easy string Calc. programhttp://www.arnopianos.com/ for the Abacus programhttp://www.stephenpaulello.com/en for more info on Stephen’s wire
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PIANO WIRE, RE-SCALING AND TONALAESTHETICSBY ARNO PATIN, PIANO RESTORER,DESIGNER & MANUFACTURER, DETROIT, MICHIGAN
We are currently witnessing a legitimate curiosity and growth of interest amongthe Piano Trade for the benefits offered by a newly developed brand of music wire.The enhancement of tonal balance in pianos is achieved by appropriate re-scaling andstress-rate control. The purpose of this article is to share some technical backgroundand information on this topic, in the hope that Technicians and Rebuilders will elevatetheir craft to a new level of technological sophistication and artistic satisfaction.
We are cognizant that the modern piano, in its overall design principles, has barelyevolved since the synthesis established by Theodore and Henry Jr. Steinway duringthe sixties of the Nineteenth century (1).
Moreover, these principles have often been applied or integrated by othermanufacturers. The result in today’s piano production could be described thus:an acceptable yet outdated standard, imitated by diversely motivated and successfulcopycats. Even the finest European makers gave up their own aestheticalcharacteristics as to lean towards what is believed to be the ultimate consensus.
On the other hand, thanks to the creative mind of piano technicians, and due totheir quest to optimize the instruments under their care, a substantial enhancementto the piano has been implemented through numerous improvements. This is true forpractically all features of the piano – for example: plate casting techniques, hammermanufacturing processes, tuning and voicing methods, and more recently actionbalancing and geometry control, soundboard design, scale evaluation and/or correction,and wire metallurgy.
Interestingly, most of these improvements originate from the Trade itself; whileAcademia (7), in terms of acoustical research or engineering, has provided onlyminimal input towards possible evolutions of the piano, while most manufacturerstend to conservatively follow the path of their historical models.
As one of the most recent elements offered to the piano history, we would liketo mention the work accomplished by French designer Stephen Paulello in regardsto piano wire.
Mr. Paulello is a concert pianist, former piano professor at the Conservatoirede Musique de Paris, a concert technician and a piano designer. He currently producestwo of his own models, a concert 275 cm and a 217 cm, while consulting for severalother European and Asian manufacturers. His interest in historical French and Germanpianos led him to a thorough study of wire metallurgy, resulting in the creation of aline of high quality piano wire. This product features several classes of breaking loadcapacities and surface finishes.
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It is now manufactured to his specifications by a small independent steel companyin Germany.
Physical & tonal characteristics of the Paulello wire – Purpose of Re-Scaling
It is easily noticeable, as we study the scales of most pianos, whether currentlymanufactured, or as candidates for rebuilding, that the curve shown by the breakpoint percentage along the string plane is substantially jagged.
Please keep in mind that we aren’t considering tensions for now, but rather theamount of work that a string undergoes at one given tension. This effort, directlyrelated to the breaking point of the string, represents precisely what is called the
‘stress rate’, and determines the string’s acoustical efficiency.
Just inasmuch as stiffness determines inharmonicity, stress rate determinesefficiency.
As an image for stress rate, let us take the example of a 1Kg (± 2lbs) mass ofwhatever material sitting on the dining room table.
Should we want to push this mass a few inches forwards, using only the indexfinger and extending it as to push the mass, we would use most of the finger’smuscular capacity. Our index would be working at almost 100 % of its strength.Should we push the same mass with the entire arm, using the biceps, this latter wouldprovide a sufficient amount of work at perhaps 10% of its muscular capacity.
In both cases, we would move the mass over the same distance, yet at a differentrate of muscular effort. Note that the mass remains identical, just as the string tensionremains identical, as we will see below.
Since the notion of stress rate is now clarified, let us leave the dining room andget right to the facts.
We are observing here an incompatible situation: on one hand, most pianospresent a very jagged stress rate curve; while on the other hand, we usually rely onwire suppliers offering only one class of stress rates. Obviously this cannotaccommodate the numerous transitions or breaks encountered throughout the stringscale of the pianos.
Let us take an extreme example that many of us have observed:In a typical 6’ piano, the percentage of effort of the highest bass string, say note
A# 26, exhibits ± 75% of its rupture point, (3) while its next unwrapped neighbourshows a stress rate of less than 35%, should the same wire class be used. The last basswire is very close to both its elastic limit and rupture point. The sudden loss ofefficiency of note 27 and the following unisons is perceived as a lack of definitionand intensity, resulting in a tubby tone, provoking an obvious imbalance in the stringplane that the skills of the best voicer cannot address.
Consequently the pianist is forced to compensate, a task he or she shouldn’t haveto do, being highly detrimental to polyphonic clarity and musical expressivity.
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Other areas of the piano’s string plane show similar issues whether it is theunichord / bichord transition, or the stress rate disparities present throughout the scale.
This status quo was no longer acceptable for Stephen Paulello. He consequentlydesigned a series of wire presenting a progression of breaking load capacities,resulting in a palette of ‘softness’ and ‘hardness’, as thus:
For same tension, same diameter, same pitch, and same length:
‘Softer wire’ = low breaking point > higher stress rate(Classes II & I)
‘Intermediary wire’ (Class O)‘Harder wire’ = high breaking point > lower stress rate(Classes M & XM)
The progression of breaking percentage from one class to the next is achievedthrough a precise engineering of the alloys, combined with careful and adequatewire-drawing techniques.
Needless to say, several years of research and development were necessary toengineer and manufacture the final product to Mr. Paulello’s standards.
As a result of his efforts, the wire is now available in 43 gauge numbers, from.375mm [.0147”] to 1.700mm [.0669”] by 25 micron [.0010”] increments.
It is available in 5 classes, from the softest to the hardest: II, I, O, M, XM. (4)
It is noticeable that the progression from one class to the next follows the historicalevolution of piano wire technology: Class II corresponds to the wire softness used inthe Early-Romantic piano period, while Class I corresponds to the wire manufacturedduring the Romantic period. Class O features similar characteristics to the famousFrench Firminy wire, used between 1880 and 1950, while Class M corresponds to thecontemporary German and American makes. Class XM is a new ultra hard wiredesigned for areas exhibiting high breaking risks.
However the progression of classes, while allowing accurate historicalreconstitutions, finds its use in modern piano re-scaling, as an opportunity to optimizestress rate balancing, through the appropriate blending of their breaking pointspecificities. This leads to the process known as ‘hybrid scaling’™.
Breaking point data by class and gauge is available upon request. However, as faras rescaling is concerned, the only information needed is the stress rate, expressed in% to the breaking point in the spreadsheet. This will be developed further below under
‘Introduction to Re-Scaling’.
As in all mechanoacoustical phenomena, there is a direct correlation betweenphysical characteristics and tonal output in the Paulello wire.
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The particular alloys, combined with the ultra-slow drawing process, allow forearly pitch stability, noticeable soon after stringing.
The Paulello wire features a broader band-width, hence a wider spectrum, whichcan be experienced aurally or measured by any ETD. Higher amplitudes for eachpartial can be noted, as well as less internal damping than other wires. This isperceived by our ears as a clearer definition, a richer, deeper ‘body’, a warmer, densercolour, and a longer sustain.
Innovation being constantly on the menu in Mr. Paulello’s lab, the ultimate option,the cherry-on-the-cake, is his Nickel-Plated wire.
An advanced electrolytic process prevents the metal from corrosion, and exhibitsan outstanding surface finish. This Nickel-Plated wire features a very highly defined
‘contour’ of the tone, and further reduced friction, therefore enhanced sustain.
The Paulello wire is available both in Polished Steel and in Nickel-Plated surfacefinishes for most classes and gauges in use in the piano.
Notes
1] Henry Jr. & Th. Steinway: Patents # 26300, 26532, 97982, 127383, 170646.2] S&S Model B3] S&S Model M4] Wire hardness chart by Stephen Paulello5] Published by Max Matthias in ‘Steinway Service Manual’, Bochinsky 19906] Ch. Cuesta & Cl. Valette, Mécanique de la Corde Vibrante, Hermès, Paris 1993
Introduction to Re-Scaling
Examples: Steinway models L & B
It is assumed, before re-scaling, that the entire current string plane of theinstrument is plotted and implemented into the spreadsheet, as follows:
1. Number of strings per unison2. Speaking lengths3. Core diameters4. Overall diameters, for the bass strings5. Copper winding diameters, for the bass strings
In the ABACUS ©, our spreadsheet dedicated to re-scaling, tensions,inharmonicity, stress rate, and intensity (loudness factor) are automatically computed,along with other data.
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Methodology:
The suggested starting point of the re-scaling will occur right at the break betweenthe last wound bass bichord and the lowest tenor blank unison.
Assuming we leave the bass scale unchanged for now, we immediately visualizethe discrepancy in terms of stress rate exhibited between those two unisons.
This is where the stress rate needs to be addressed using softer wire in the low tenor,in order to match the higher bass notes.
In the original S&S scaling for model L, a hard wire is used for note 27, (whetherRőslau or Mapes, approximately equivalent to Class M in terms of BP), featuringa stress rate of ± 40% to the BP, compared with the last wound note 26, featuring75% of BP.
Should we wish to increase the stress of note 27 to a higher rate, we simply changewire class by substituting a softer class in the appropriate column.
If we choose Class O, we increase the rate to ± 50%, which is already animprovement. If we want to match the last wound bichord closer, especially ina shorter scale, we can choose Class 1, which increases the rate to ± 58 %.
Note that a break of up to ± 10% is fully acceptable, while 8 % is perceivedas nearly seamless.
Assuming we are not rescaling the bass yet, we can now move up to the followingunisons and look at acceptable rates in the existing scaling.
We see that they are not to be found until we reach the midrange of the piano,(in Class M), since there is evidence that ideal rates encompass a window between50 % and 75 % of BP (6).
We can consequently implement an intermediary softness as to match the hardnessfound in the upper midrange, using Class O from the lowest tenor unison till aroundA49, or slightly above.
It is recommended to blend classes within the same gauge, however it isnot necessary.
We can now create a smooth and balanced progression of stress rates in the entiremidrange of the piano, and address the main transition issue.
Please note that the tensions are not altered by the process, and yet they also maybe balanced through the re-scaling process.
Additionally, inharmonicity is unchanged from one rate class to the other.
Ultimately, we can increase the tensions by increasing wire diameter in the uppertreble, by using a harder wire, (Class XM), in the last upper octave of the piano,enabling us to increase tensions and loudness while diminishing the breaking risk.
Note that we haven’t even changed any diameter so far.
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As we become familiar with the basics of re-scaling, we can now move on to thebass area, which is a little trickier, and requires some special attention.
Here is how we’ll connect the dots, and divide a huge break into 4 or moreminimal breaks, and reduce them to non-issues.
We have seen that variation of diameters from the original scale is rarely necessarywithin most of the plain area.
Typically, we might change gauges at the transition, (should we want to lower theinharmonicity for example), or in the upper treble, as to increase tensions and loudness.
However the main tweaking of diameters occurs in the bass section.
First of all, we need to look at the stress rate of note A1.There, a value that is lower than ± 35 % is not a desirable option. The string sounds
thuddy and totally lacks energy. We can increase its rate by using a softer wire for thecores among the first unichords.
From there, we can now progressively increase tensions and stress rate among theunichords and bichords, and ultimately match the first plain unison at the transition.
We should always think of inharmonicity, tensions and loudness as ‘consequential’,and of stress rate as ‘instrumental’. In other words, stress rate should be regarded asthe most significant parameter, and seen as a guideline, while the other factors can beseen as a consequence of wire diameter, length and frequency.
Also, while it may look beneficial to decrease certain diameters in the bass area,we must keep an eye on the loudness factor, which we suggest keeping at a minimalvalue for A0 of 155 and 175 for a 6’ and a 9’ piano respectively.
The ABACUS allows for any combinations of core/winding ratio, (providedexisting steel and copper gauges are chosen), and automatically computes allspecificities of wound strings, whatever ratio is chosen.
The bass calculation may appear somewhat tedious, but after a few trials it shouldbecome straightforward as well.
For comparisons, see Abacus Steinway L ‘Original’ and ‘Specific’ as well asAbacus Steinway B ‘Original’ and ‘Specific’ hereby offered.
Notes
1] Henry Jr. & Th. Steinway: Patents # 26300, 26532, 97982, 127383, 170646.2] S&S Model B3] S&S Model M4] Wire hardness chart by Stephen Paulello5] Max Matthias ‘Steinway Service Manual’, Bochinsky 19906] Ch. Cuesta & Cl. Valette, ‘Mécanique de la Corde Vibrante’, Hermès, Paris
1993
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Acknowledgements
We are grateful to Stephen Paulello for his creative energy and powerfultechnical support.
We also wish to thank Scott Nelson, RPT, and Dan Harteau, RPT, (Detroit Chapter),for being pioneers in the use of the Paulello wire in the United States.
As fine concert technicians, their artistic involvement, their unique feedbackand their lasting confidence in the Paulello wire, have deeply contributed tothe presence and success of this new milestone.
© Arno Patin Studios LLC Signature Pianos & Evolutionary Acoustructural Technologies
Detroit, MichiganTel: (734) 369 2801 www.arnopianos.com Email: [email protected]
An extract from the Abacus spreadsheet example of re-scaling for the S&S model B.
More Plagiarism Anybody continued
Note the capstans screwed into the longprolonges and what my old foreman atBroadwoods called a “double spring action”,a loop cord protrudes from the hammer notchthrough a slot at the top of the jack. This is sooften found in Bechstein pianos; this systemwas also used in some Broadwoods. I’m justgrateful the above action is not ‘tied’!
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Posts should be civil, tasteful and relevant.By posting you are agreeing to comply with the House Rules and you indemnify thePTA against all legal fees, damages and expenses that may be incurred by the PTAas a result of a breach of the House Rules.Do not post messages that are unlawful, harassing, defamatory, abusive, threatening,harmful, obscene, profane, disruptive, sexually oriented or racially offensive.Your post may be removed and your website access denied should you infringethese rules.
PTA INTERACTIVE FORUM HOUSE RULES
PTA PIANO SALES ENCOURAGEMENTSCHEME
We are pleased to announce that commission has been paid by the following dealersunder the PTA Piano Sales Encouragement scheme:Josef’s Pianos5-7 Bridge StreetRothwellNorthamptonshireNN14 6EWTel: 01536 710529
Dulwich Piano Company LtdContact Tania StaiteTel: 020 8677 4422Text: 07508 560 950
The left photo shows the type of cast metal standard held in place with a woodencatch fitment so often found in Bechsteins.
This type of agraffe (right) is, characteristically although not exclusively found inBechsteins. Beware of such instruments that have been kept in damp conditions. Mildewcan form along the string hole line and because they are so close together the brasscorrodes and the upward pressure causes the top part of the agraffe to snap off from theupward bearing of the strings. This is most prevalent in the tri-chord sections.
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The meeting of the Executive Council was held on 25th July at Robert Morley& Co. Ltd., Lewisham.
Present were Anne Burton (President), Gary Whiteland (Vice President), AnnetteSummers (Treasurer/Secretary), Tania Statie (Trustee), Stephen Venn (Trustee),Lewis Flisher, Finlay Fraser, Shaun McLoughlin, Michelle Rudd and Yumi Shigeno.
Observing was Samantha Hewson.Apologies were received from Andrew Giller.Michelle Rudd has updated the Council Decisions list and a hard copy of this
is on file with the Secretary.Mrs Danby has asked if PTA would purchase the tools belonging to her late
husband, Mick Danby. The Council will consider the matter further once a list of thetools becomes available.
PTA Member Steven Droy has a new training course starting in Northampton inSeptember. Council already approved his students could have PTA Student status atthe November 2014 meeting, but as Council has concerns regarding the syllabus ofthis course, Council can not endorse the course.
The Treasurer's report was circulated, discussed and approved.We welcome two new Members and have received three application forms;
one Membership, one Associate and one Student.Michelle Rudd is to take over the Advertising and PR duties.Anne Burton is exploring the possibility of inserting the given name to
the Yearbook entries. Annette Summers will contact Ian Summers asking for updateon the Yearbook production.
Stephen Venn has all the Yearbook advertising in place.It was decided that Finlay Fraser is to take over the position of Test Sub
Committee Chairperson/Minute taker from Andrew Jamieson. Previous discussionsregarding Finlay Fraser’s becoming an examiner will be pursued.
Further Training days are being planned.Another visit to Newark is to be arranged in March 2016.
Finlay Fraser and Yumi Shigeno volunteered to work on recruitment of new Members.The Tuning Reminder section of the PTA website is now fully functioning.No date yet for the Forum on the website.The new Convention Team consists of Anne Burton, Tania Staite, Gary Whiteland
and Annette Summers.The PTA Interactive Forum House Rules has been adopted unanimously.Yumi Shigeno is to compile a report of Members in attendance of the AGM,
and to look at the Rules of the Association for clarification.Annette Summers has updated the Council on the various PTA products:
Sound Advice, Polo Shirts and Jumpers. PTA woven badges to be considered.The next meeting is scheduled for Saturday 26th September 2015 at Robert Morley
& Co. Ltd., Lewisham. Observers are welcome at all Council meetings.A full copy of the Minutes is available from the PTA Secretary.
PTA COUNCIL REPORTYUMI SHIGENO
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17th October 2015PTA Training Day at Steinway Hall, London with Mario Igrec
Booking form available to download from the website
Convention 2016, 11 to 14 MayThe Barnstaple Hotel, Barnstaple, Devon
Convention 2017, 10 to 13 MayMercure Shrewsbury Albrighton Hotel & Spa, Shrewsbury
For enquiries, PTA goods, changes of address or contact details:Mrs Annette Summers. PTA SecretaryPO Box 230HAILSHAM BN27 9EA
Tel: 0845 602 8796Email: [email protected]
PTA DIARY
David O’Donnell’s PTG Brochures, July 2015
