October 2016

Nigel Polmear, piano tuner, Steinway & Sons

Hans J Velo PTA Scottish Autumn Lunch

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Editorial — 4President Writes — 5Membership News — 6Return of the Plist — 7PTA Scottish Autumn Lunch — 7Optimization of Bass Strings — 8Proms Stories — 19

Images from Piano History — No 11 — 20Piano Picture Quiz — 22Steingraeber Trip Advert — 24

Council Report — 26PTA Diary — 27

The next deadline for PTA News is: Friday 25th November 2016.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: ptanews@pianotuner.org.uk

To advertise in PTA News, at very reasonable rates, please contact:Mr Stephen Venn, 96 Anmore Road, Denmead, WATERLOOVILLE PO7 6NT.

Email: advertising@pianotuner.org.uk

CONTENTS

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We commence this issue with a long article by HansVelo about the optimization of bass strings pp8-18. I’mdelighted to be able to publish it in full without having tospread it across several issues. Thank you to Mr Velo for permission toreproduce his article here. As our Newsletter’s format size is A5, you maywish to look at the article online in order to make the size of the graphs easierto read. The web page is given at the end of the article on p18.

We follow on with an extract from BBC Music about the day in the life ofthe Proms featuring PTA Council Member Nigel Polmear who tells me that hehas been tuning at the Proms for 31 years. The full article is a fascinatinginsight into the behind the scenes at the Proms and is well worth looking at.The web address for it is on p18.

The Image from Piano History is of a Piano Makers Dinner from the early1950s with some unknown people in attendance. If anyone is able to identifythem, please would you let either me or Dr Laurence know. A largerphotograph has been inserted sideways on p21 for extra clarity.

Nigel Donovan has sent another set of thumbnails of pianos foridentification on p22. If you’d like to have a stab at identifying the pianos,send him an email and he will let you know how you’ve got on.

I’d like to repeat my request for more articles for the Newsletter. I don’thave a stock of items now which means that the next issue may be very thinindeed! I do hope that you will be inspired to put pen to paper or typesomething and send it to me. All articles, photographs and letters are welcome.

EDITORIALANNE BURTON

DEADLINE FOR PTAN ARTICLES: FRIDAY 25th November 2016 Articles, letters and photos to: ptanews@pianotuner.org.uk or to address on page 3.

Please email photographs and text separately.

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THE PRESIDENT WRITESANNE BURTON

I’m disappointed that I’m unable to attend the Steinwaytuning clinic with David Widdicombe and Nigel Polmear but Ihope that this day will be of great value to all who do attend andI look forward to reading about it in the next Newsletter.

Paul Fox and Nigel Donovan have re-launched the Plist, on their owninitiative with the backing of Council, and would very much like to encourageall Members, Associates and Students to sign up to this closed list. The Plisthas been a very effective method of asking for help and disseminatinginformation and I hope that those who enjoyed it in the past will do so again.While the Plist is quite a different format to the Forum, the Forum will continueon the website for those who wish to use it.

I hope that as many of you as possible will come to the Autumn Lunchwhich is to be held in Glasgow again on the 12th November. We had a veryenjoyable time last year and I look forward to seeing everyone there again thisyear. See page 7 for details.

Finally, the IMIT is planning a trip to visit the Steingraeber factory inBayreuth next June, departing on Monday 12th and returning on Thursday 15thto which Members of the PTA are cordially invited to join. As well as a factorytour there will be a workshop session and visits to other places of interestduring the trip. The advert is on page 24.

Anne BurtonPTA President

The Steingraeber Factory, Bayreuth

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MEMBERSHIP NEWSANNETTE SUMMERSPlease note these changes to the 2015/2016 Yearbook:

1020 Mr N W Motion (mobile, web and email remain the same) 10 Langton View East Calder LIVINGSTON West Lothian EH53 0LE

S1380 Miss S R Marley (email remains the same) 223 Croudace Street New Lambton Heights N S W 2305 Australia Tel: +61 400 868 278

S1382 Ms M Sharkey (telephone and email remain the same) 28 Scorpio Close LIVERPOOL L14 9LY

An application to become a PTA Member has been received from:

Mr Z J Kurzeja 236a High Road LONDON N22 8HH Tel: 07903 835915

Please send all changes of address, telephone and email to The Secretaryusing the contact details on Page 27.

Attendees at the PTAScottish AutumnLunch last year at theUrban Bar & Brasserie,Glasgow

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THE PLIST RETURNSBY PAUL FOX AND NIGEL DONOVAN

We have a welcome return of the Plist, the coffee bar for discussion ofall things piano and all other topics as well!

If you’d like to be part of this lively group then please visithttp://mailman.baremetal.com/mailman/listinfo/plist and sign up. It is verystraightforward. You’ll be issued a password and as far as I can see, if yourevisit that page once you’re subscribed, you can alter the password tosomething more memorable for yourself.

Previously we had c120 subscribed to the Plist so let’s have a good turnoutonce more and begin exchanging the valuable knowledge we have and share itamongst experienced and novice tuners alike. That’s what the PTA is for:sharing knowledge to assist each other.

The Plist is a private ‘closed’ list, not available or accessible except via thismethod of subscription and as such, the discussions, comments and viewsmade therein are exclusively for the consumption and eyes of the subscribersONLY. Please respect this and do not disseminate the exchanges or content(written or pictorial) anywhere beyond the Plist.

The PTA or Administrators of the Plist are not responsible or liable for anydefamatory comments made about any person or persons (alive or dead) orfirms, companies or establishments whether past or present, so please keepeverything above board, be polite and courteous with replies or subjects nomatter what. Remember we were all novices once!

PTA SCOTTISH AUTUMN LUNCHSaturday 12th November, 2016

Urban Bar & Brasserie23-25 St Vincent Place

Glasgow G1 2DTCome and join us at 12.30 for a convivial meal in a superb location.

We will dine in the Boardroom which once was a bank manager’s wood-panelledoffice and is now a superior secluded venue for dining. Urban Bar & Brasserie hasa sophisticated, cosmopolitan atmosphere and is set in the heart of Glasgow’sbustling city centre, very near to Queen Street and Central stations.To book your place, c£25 per person, not including drinks, contact the Secretary

Tel: 0845 602 8796 Email: secretary@pianotuner.org.uk.

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OPTIMIZATION OF BASS STRINGS WITHPAULELLO PIANO WIRE AND RÖSLAU WIREBY HANS J VELO

1. Introduction

Professionals consider the difference in the timbre of bass tone between largegrands and smaller grands and uprights as significant.

In addition to the well-known Röslau Piano Wire, Paulello Piano Wire hasbeen available for a few years.

For a small grand, namely a Steinway-O with the longest bass string length1365 mm, the optimization uses a combination of Röslau Piano Wire andPaulello Piano Wire type XM.

It has been found that in the bass the same level of inharmonicity can beachieved as that of a large concert grand. The result of this is that the bass hasa more beautiful sound as compared to the sound of the original bass stringing.Also it turned out that the tuning is much easier, because the octave stretch ismuch less compared to the octave stretch of the original bass stringing.The analysis of the original bass stringing and the optimizations are carried outwith the program Easy String Calc. version 6.04hp2.

The program analyses with standard Röslau Piano Wire.The optimization is done in two stages, first collectively all plain strings, then

collectively all wrapped strings.The program determines automatically which keys in the bass Paulello wire

type XM has to be applied to achieve the inharmonicity of a large concert grand.Also it is possible to optimize every note separately. During the optimization

per note, one can substitute another type of steel, e.g. Pure Sound (PS), PureSound Strong (PSS) or Paulello Piano Wire type XM.

2. Comparison Paulello Piano Wire XM with Röslau wire

The modulus of elasticity for both types of wire is almost equal, namely2,06E+11 N/m2. for Röslau Wire en 2,02E+11 N/m2. for Paulello Piano Wire.The density is also equal.

The table below shows the nominal breaking load for both types of wire.This table shows that the breaking point for Paulello Piano Wire XM

is significantly higher than for Röslau wire.

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Table 1.

Wire Number

Paulello xm Paulello xm Röslau RatioPaulello/Röslau

NominalBreaking load

newton

NominalBreaking load

kg

NominalBreaking load

kg

NominalBreaking load

13 1398 143 114 1.25013.5 1450 148 121 1.22214 1539 157 128 1.226

14.5 1597 163 135 1.20615 1806 184 142 1.297

15.5 1846 188 149 1.26316 1895 193 157 1.231

16.5 2019 206 164 1.25517 2141 218 171 1.277

17.5 2227 227 179 1.26918 2289 233 187 1.248

18.5 2362 241 195 1.23519 2456 250 203 1.234

19.5 2583 263 211 1.24820 2599 265 218 1.216

20.5 2757 281 226 1.24421 2841 290 234 1.238

21.5 2946 300 241 1.247

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3. Properties of a large concert grand (Steinway-D)

Fig. 1. Some of the properties of a Steinway-D.

Figure 1 shows the total tension of a chord in kgf, the load in % of the maximumload, the basic sound volume in dB x 10 on the vertical axis, that is to say, forexample, 230 means 23 dB and in the vertical direction each division is one dB.

The sound volume, which a tone can produce, is proportional to the totaltension of the chord concerned. The basic sound volume (BSV) is equal to10*LOG [tension of a chord], with the understanding that the jumps in tensionof the chords in the bass section are corrected. This difference in tension isespecially made to prevent an audible difference in sound volume by thesetransitions. It is commonly known, that a mono-chord with the same tension asa bi-chord sounds louder.

The reason to introduce the dB unit is that this unit is usual in acoustics.The advantage of using dB instead of using factors is, among others, that dB’scan be added and factors have to be multiplied. The absolute value of the basicsound volume is of no importance, because the produced sound volume dependsamong others of the force with which the hammer hits the string and theproperties of the hammer and soundboard. But the shape of the curve of the basicsound volume as a function of the key number is important. Research has proved,when the sound level of two tones varies less than 1 dB, this difference inloudness is not audible. A rather fluctuating curve of the tension of the chords is,if one looks to the curve of the basic sound volume, often acceptable.

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Figure 2 shows the curve of the inharmonicity constant of a Steinway-D.Fig. 2 Steinway-D

Fig. 3. Steinway-O with original stringing

Interestingly, in various places the load in the bass exceeds 75%.At one point, the load is even more than 90% of the breaking load.

4. Properties of a Steinway-O with original stringing

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Fig.4 Steinway-O with original stringing.The violet line is the target value of the inharmonicity constant. This target

value is equal to the inharmonicity constant of a Steinway-D. The actualinharmonicity constant in the bass region is for a great extent, well above thistarget level.

5. Optimisation Steinway–O with Röslau wire.

Fig. 5. Optimization Steinway-O with Röslau Wire

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Figure 6 shows the curve of the inharmonicity constant realized afteroptimization with Röslau Wire.

Fig.6. Optimization Steinway-O with Röslau Wire.

If we compare figure 6 with figure 2, we see that for keys 1 to 8 theinharmonicity constant of the Steinway-O is almost equal to the inharmonicityconstant of the Steinway-D. For keys 9 to 26 the inharmonicity constant ishigher than the inharmonicity constant of the Steinway-D. This is becausekeeping the load ≤ 75 %, the steel core must be thicker than is required foroptimum inharmonicity. If one should optimize in such a way theinharmonicity constant is made equal to a target value equal to theinharmonicity constant of a large concert grand piano, the load on a numberof keys in the bass than is >75%. See figures 7 and 8.

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Fig. 7. Optimization Steinway-O with Röslau Wire.

Fig. 8. Optimization Steinway-O with Röslau Wire

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6. Optimization Steinway-O with Paulello Wire type XM

In table 1 we see the nominal breaking load of Paulello Wire type XM ishigher compared to the nominal breaking load of Röslau Wire. By applyingPaulello Wire type XM at those keys where, by the use of Röslau Wire, theload exceeds 75% of the nominal breaking load, it is possible to achieve aninharmonicity constant equal to the inharmonicity constant of a large concertgrand. See figures 9 and 10.

Fig. 9. Optimization Steinway-O with Paulello Wire type XM.

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Fig. 10. Optimization Steinway-O with Paulello Wire type XM.

7. Optimization Steinway-O with Paulello Wire type XM and optimizedstring length.

The professional version of the program ESC6.04hp2 gives the possibilityto design the tension and the inharmonicity constant independent of each other.This possibility is mainly applicable by manufacturers, because when theydesign a new instrument, they have the possibility to apply string lengthscalculated by ESC.

The program ESC6.04hp2 is capable of optimizing the length of the stringsin such a way that the tension of the strings is very regular, while theinharmonicity constant coincides with the target line. Figures 11 and 12 showthe result.

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Fig.11. Optimization Steinway-O with Paulello Wire type XM and optimized string length.

Fig.12. Optimization Steinway-O with Paulello Wire type XM and optimized string length.

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8. Test by professional pianists.

Two Steinway-O grands were restored.One of them using a bass stringing delivered by Steinway and another with

a bass calculated with the program Easy String Calc. using where necessaryPaulello wire type XM.

Some professional pianists have played these two grands and they preferredthe Steinway-O with a bass calculated with the program Easy String Calc.,using where necessary Paulello wire type XM. A loss in dynamic sound wasnot found.

It is remarkable that even in this top brand, an improvement was possible.

9. Conclusion.

It has been found that by applying a combination of Röslau Wire andPaulello Wire type XM in the bass of small grands and uprights for the corewire of the wrapped strings, an inharmonicity can be achieved comparablewith the inharmonicity of a large concert grand. The effect of this is that thebass has a more beautiful sound. It also turns out that the tuning is much easierbecause the octave stretch is much less.

10. Sound examples.

For sound examples visit: http:/home.kpn.nl/velo68

11. Video

To prove that by using the program ESC6.04hp2 an optimization can bedone within a few minutes, visit home.kpn.nl/velo68 and click: Click fora video presentation of Easy String Calc.

PROMS STORIES

To read Mr Alex Marshall’s full article in BBC Music about the day in thelife of the world’s greatest classical music festival, go to:http://www.bbc.co.uk/music/articles/600d28aa-1a13-44aa-bdad-02022633b737

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PROMS STORIESA DAY IN THE LIFE OF THE WORLD’S GREATESTCLASSICAL MUSIC FESTIVALBY ALEX MARSHALL, PHOTOGRAPH BY MARK ALLAN

On 24 August – the hottest day of the year, and just a few days after theOlympics closing ceremony in Brazil – the São Paulo Symphony Orchestracame to London for two Proms, one starting at 7:30pm, the other at 10.15pm.Here are the stories of the orchestra, the Proms’ staff and those of somePrommers, who give the concerts an atmosphere you experience absolutely

“We pre-tune the pianos before they get here, but things always move andchange. It’s very humid today, and they put air conditioning on in the hall,and they took one of the lids off earlier, so the hot stage lights affected thingstoo. The poor old pianos didn't stand a chance.

“The whole crux of working here is you get a small window of opportunitybecause it’s all happening on stage – you've got BBC personnel setting upcameras and microphones, and orchestras putting up stands, harpists whowant to tune up and timpanists too. You kind of have to steer your waythrough it and be patient.

“But that’s the thing: it’s all live. All happening. I’ve worked at all theother London concert halls as part of my job but this place is a bit different.I’ll be on standby when the performance is on, in case something happens,but touch wood, it won’t.” ©BBC Music

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IMAGES FROM PIANO HISTORY — NO 11THE PIANO MAKERS PREPARE FOR THEIR DINNER,EARLY 1950SDR ALASTAIR LAURENCE, JOHN BROADWOOD & SONS LTD.

Left to right, around the table:1. Edgar Danemann, director, W Danemann and Co. Ltd.2. William S. Watts, director, Monington & Weston Ltd.3. Eddie Hughes, director, William Hughes Ltd,

bass string and spring makers.4. Tommy Watkin, general manager, John Broadwood & Sons Ltd.5. Tom Danemann, director, W Danemann and Co. Ltd.6. (Hidden)7. ? Lionel Squibb, director of Steinway & Sons, London branch.8. (Standing at back) Alfie Knight, director, Alfred Knight Ltd.9. (At head of table) Willie Evans, chairman,

Charles H. Challen & Co. Ltd.10. (Unknown; any suggestions?

He looks oriental. Souhami veneers perhaps?)11. Percy Brasted, director, W. G. Eavestaff & Sons Ltd.12. Fred Saffell, director, Barratt & Robinson Ltd.13. Tom Hicks, director, The Chappell Piano Company Ltd.14. (Unknown; any suggestions?)

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PIANO PICTURE QUIZBY NIGEL DONOVAN

1 2 3

4 5 6

Solutions next issue, but if you can’t wait, send me your answers and I’ll letyou know your score. nigel.donovan@cambridgepianotuner.co.uk

HOW OBSERVANT ARE YOU?See if you can guess or work out the name of the pianofrom the clues.

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7 8

9 10

11 12

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The IMIT has invited the PTA to join them in a proposed visit to theSteingraeber und Söhne Factory in Bayreuth, Germany in June next year.

If 12-15 people are interested in this project, a non-refundable deposit of£100 would be required by 31 December 2016. The anticipated cost per personis £300 subject to the exchange rate and the £/€ fluctuation, excluding flights.

Although Nuremberg is the nearest airport, the IMIT are suggesting that itmay be easier to fly to Munich airport and then travel together as one group.

To register your interest, contact:Andrew Giller on 01502 679088

gillerpianos@waitrose.comThe suggested programme is to include:

Leaving the UK on Monday 12th to arrive in Munich by 21:30Transport to Bayreuth (provided).

3 nights accommodation at the Ramada Hotel, Bayreuth.Tuesday 13 June

Factory Tour; Visit to Richard Wagner’s House; DinnerWednesday 14 June

Workshop at factory; Visit to Franz Liszt’s House; DinnerThursday 15 June

Free time until departure and return flights to UK.

IMIT STEINGRAEBER TRIP, JUNE 12-15, 2017

The Steingraeber Factory Buildings in Bayreuth

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At Work in the Factory

The Steingraeber Logo

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The Meeting of the Executive Council was held on 24th September,2016 at Robert Morley & Co. Ltd., Lewisham.Present were: Gary Whiteland (Vice President), Annette Summers(Secretary/Treasurer), Tania Staite (Trustee), Andrew Giller, Shaun McLoughlin,Nigel Polmear, Michelle Rudd, Stephen Venn, Lewis Flisher (Hon CouncilMember) and Robyn Sellman (Observer).Apologies were received from Anne Burton, Finlay Fraser and Andrew Jamieson.The Minutes of the last meeting were circulated and approved.The PTA will host the November 2017 Europiano Delegates Meeting.Andrew Jamieson is negotiating rates for this and Shaun McLoughlin willorganize local tours for Delegates who may be interested.The Scottish Autumn Lunch will also be held at this time.Europiano President Gunther Schaible is keen for PTA to remain in Europianoonce Britain exits the EU.An email was received from Paul Fox, with a list of petitioners attached, urgingCouncil to reconsider the decision to close the Plist. Council has given Paul Foxand Nigel Donovan permission to re-instate the Plist which they will do at theirown cost.Brian Frost emailed his concern about the publication of the Year Book beingmoved to January. However, the decision to move this date was agreed at theJuly Meeting and will remain.The Treasurer’s report was circulated, discussed and approved.Michelle Rudd is placing a ¼ page advert in the Souvenir Brochure for theLondon Piano Festival, Kings Place.The Training Day being held at Steinway & Sons on 15th October now has23 attendees. More Training Days are being arranged.The 2017 Convention Prospectus will be ready for proof reading by the endof October.It has now been confirmed that the 2018 Convention will be held atThe Blackwell Grange Hotel, Darlington.The 2016 Scottish Autumn Lunch will be held on the 12th November at 12.30pm at the Urban Bar & Brasserie in Glasgow.The next EC meeting is scheduled for 12 pm on Saturday 26th November, 2016at 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 REPORTANNETTE SUMMERS

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PTA Training Day, Steinway Hall, 15 October 2016PTA Scottish Autumn Lunch

12.30 pm, 12 November 2016Urban Bar & Brasserie, 23-25 St Vincent Place, Glasgow

Convention with A.G.M. 2017, 10th to 13th MayMercure Shrewsbury Albrighton Hall Hotel & Spa, Shrewsbury

Convention with A.G.M. May 2018,Blackwell Grange Hotel, Darlington

For enquiries, PTA goods, changes of address or contact details:Mrs Annette Summers, PTA SecretaryPO Box 230HAILSHAM BN27 9EATel: 0845 602 8796Email: secretary@pianotuner.org.uk

PTA DIARY

Mercure Shrewsbury Albrighton Hall Hotel & Spa, Shrewsbury