You will likely find not much restorers having yet available the different types of wire, as they are more expensive to buy, one nee to be really sold on the result.
AT last I noticed that many confirmed restorers use the softer wire qualities in the start of the long bridge, and in all sections where the tension is low (unichords in basses of small pianos for instance)
However it is better to stay with the same wire (different types but same steel) on the whole scale.
I think there are very little technicians and also restorers that have a good understanding of the interrelations between soundboard and scale.
I think if the soundboard and plate is correctly assessed (amount of impedance, lengths progressions, strike line) the choice for the strings is not that difficult .
Even base on the original scale only some aspects can be made better, as the breaks where the plate cross the bridge, where often a stronger wire can be used on the treble sie and thinner or softer on the bass side of the strut.
One need to know the global tone will be more brilliant, silky, but less dynamic, so it goes hand by hand with softer/lighter cold pressed hammers, for a tone which will be less on the "modern hyper abrupt tone" an that can be appreciate in a home.
I would not be too surprise that this wire is well adapted to the 1930 scaling of American/Canadian pianos (for the ones I could play with their original strings)
I was explained the tone of old strings get impure and harder because of the carbon migration in time within the wire, so possibly the annealed part (external) get harder and raise the rigidity of the string, You can have nicely sounding old strings because of original quality, but the tone never will be thick and auto alimented well, it remain small and sow down fast.
Just have a few new strings mounted to check for a result before doing the job, it can be worth. the expense/trouble.
Based on a healthy sound structure (no particular ^problems with soundboard and bridges, I see the budget raised 20 25% not more, assuming the rebuilder have a little experience or is not on his own with the strings use.
The basis of that "mixed" wire method relates to yet old studies an things that all stringed instrument builders know about, which is a certain level of stress on the wire is necessary to ameliorate the steel elasticity (resiliency goes together with) .
Violing, guitars, take that in account whatever the material for the strings. Better forming of the waves, less parasitic unwanted noises or tones, that take energy from the musical tone.
The expense is that softer steel is absorbing a little more energy, that is then not reflected within the wire. Impacting more the fundamental an the highest level of power than the spectra, which is rich and clear.
Certainly very very different than the pianos you may see mounted with high carbon content wire as Mapes, that creates more inharmonicity very soon in the 5th-6th octave. While allowing for more power but more impurity (noise) .Little experience with that wire but that is what I noticed in treble.
The Roslau (German) wire we use today also miss a very good partials definition, but stay with a lower iH range in my impression.
BTW the plain wire cost is not anecdotal but not a large part of the furniture cost, the bass strings cost can be 15 times more than the plain wire.
Edited by Olek (07/23/14 10:59 AM)
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