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Stress leveling to aid stabilityWinding Material ChangesMost common winding material today is soft copper. Difference in densities results in different volume, tension, inharmonicity Steel->Copper Silnic->Copper Aluminum->Copper.*Better Match to Historical Characteristics++(TChange of core or wrap to control Tension Volume/impedance Expansion Pitch change&$1$1 Improve Parametric Consistency(EInharmonicity Curves Tension Patterns Volume Curves Across the breaksTension Volume! Inharmonicity EVALUATION ELEMENTSSSpeaking Length Core / Wrap Material Length of Wrap Wrap Step Exposed core length RT Change in Material Speaking Length CoreWrapStep Exposed Core String SpecificationsLCore Wrap Diameter Wrap step Loop to start of wrap Length of wrap Tolerances   Data CaptureYSpeaking Length Core & Wrap Bridge to start of wrap V-Bar to start of wrap Bridge to loop Reference Illustration - THANK YOUPlease write with any questions or comments to opportuneist.pianoservice@Verizon.net Visit the web site at www.oppor-tune-ist.com U 0/TU 0l/0 " # $ % &'()*+  ` 33` Sf3f` 33g` f` www3PP` ZXdbmo` \ғ3y`Ӣ` 3f3ff` 3f3FKf` hk]wwwfܹ` ff>>\`Y{ff` R>&- {p_/̴>?" dd@,|?" dd@   " @ ` n?" dd@   @@``PR    @ ` ` p>> PHf(    6_+  `} + T Click to edit Master title style! !  0b+  ` + RClick to edit Master text styles Second level Third level Fourth level Fifth level!     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S 0 T|+pepe cR   l*  aa  0 Tlpepe c  + n*  aaH 0 0h\ ? 3380___PPT10.~  8(    0` R    >*   0t     @*   6$ cR   >*   64 c   @* H  0h\ ? 3380___PPT10.Hhd-11/11/03 8Oppor-TUNE-ist Piano Service nf (  r  S +> + r  S + `   +   3 App00X $ 0U 0  Z̙fyd޽h ?"` 33___PPT10.Kuz+n&yD]' = @B D' = @BA?%,( < +O%,( < +D ' =%(%(D' =%(D=' =4@BBBB%(D' 5=2y;BplayFrom(0.0)*<3<*D:'  = B`B?<*%(/%,( < +/%,( < +/%,( < +)?+?  6.0 (   r  S l `}  + r  S 9 `    3 A``X $ 0U 0H  0޽h ? 33___PPT10.Lut&6+n&yD]' = @B D' = @BA?%,( < +O%,( < +D ' =%(%(D' =%(D=' =4@BBBB%(D' tT=2y;BplayFrom(0.0)*<3<* D:'  = B`B?<* %(/%,( < +/%,( < +/%,( < +)?+?  6.@(  r  S ? `}   r  S @ `    3 A``X $ 0U 0H  0޽h ? 33___PPT10.Nu@k-+n&yD]' = @B D' = @BA?%,( < +O%,( < +D ' =%(%(D' =%(D=' =4@BBBB%(D' .=2y;BplayFrom(0.0)*<3<*D:'  = B`B?<*%(/%,( < +/%,( < +/%,( < +)?+?  6.P(  r  S 4H `}   r  S I `    3 A`X $ 0U 0H  0޽h ? 33___PPT10.Quf+n&yD]' = @B D' = @BA?%,( < +O%,( < +D ' =%(%(D' =%(D=' =4@BBBB%(D' R=2y;BplayFrom(0.0)*<3<*D:'  = B`B?<*%(/%,( < +/%,( < +/%,( < +)?+?  6.`(  r  S ,N `}   r  S $R `    3 Ap0`X $ 0U 0H  0޽h ? 33___PPT10.Ru +n&yD]' = @B D' = @BA?%,( < +O%,( < +D ' =%(%(D' =%(D=' =4@BBBB%(D' =2y;BplayFrom(0.0)*<3<*D:'  = B`B?<*%(/%,( < +/%,( < +/%,( < +)?+?  6.p(  r  S d_ `}   r  S 8` `    3 App00X $ 0U 0H  0޽h ? 33___PPT10.Lw:@+n&yD]' = @B D' = @BA?%,( < +O%,( < +D ' =%(%(D' =%(D=' =4@BBBB%(D' d}=2y;BplayFrom(0.0)*<3<*D:'  = B`B?<*%(/%,( < +/%,( < +/%,( < +)?+?  6. (   r  S 8 `}   r  S   `    3 A`X $ 0U 0H  0޽h ? 33___PPT10.Lwp5+n&yD]' = @B D' = @BA?%,( < +O%,( < +D ' =%(%(D' =%(D=' =4@BBBB%(D' k=2y;BplayFrom(0.0)*<3<* D:'  = B`B?<* %(/%,( < +/%,( < +/%,( < +)?+e   \TP>(  r < S h `}    ; XATensionF9  > 3 A``X  $ 0U 0H  0޽h ? 33___PPT10.Q}+@D]' = @B D' = @BA?%,( < +O%,( < +D ' =%(%(D' =%(D=' =4@BBBB%(D' x=2y;BplayFrom(0.0)*<3<*>D:'  = B`B?<*>%(/%,( < +/%,( < +/%,( < +)?+c   ZR`(  r  S  `}     VAVolume5K   3 Ap`0X  $ 0U 0H  0޽h ? 33___PPT10.@?+!WCD]' = @B D' = @BA?%,( < +O%,( < +D ' =%(%(D' =%(D=' =4@BBBB%(D' =2y;BplayFrom(0.0)*<3<*D:'  = B`B?<*%(/%,( < +/%,( < +/%,( < +)?+c   ZRp(  r  S  `}     VAInharmb   3 App00X  $ 0U 0H  0޽h ? 33___PPT10.4+!WCD]' = @B D' = @BA?%,( < +O%,( < +D ' =%(%(D' =%(D=' =4@BBBB%(D' =2y;BplayFrom(0.0)*<3<*D:'  = B`B?<*%(/%,( < +/%,( < +/%,( < +)?+   $n(  $r $ S  `}   r $ S 0 `0   LB $ c $D P  Xb $ 0` P ^ $ 6  Xb $ 0   X  $ 0  Xb  $ 0`   Xb  $ 0`  LB  $ c $D   LB  $ c $D P  LB $ c $D   d $ <G@8` p ^ $ 6G$` p d $ <G@80  ^ $ 6G@80  f $ 0"`0   $ 3 A@`X  $ 0U 0H $ 0޽h ? 33___PPT10.Mw +Y kwD]' = @B D' = @BA?%,( < +O%,( < +D ' =%(%(D' =%(D=' =4@BBBB%(D' X9=2y;BplayFrom(0.0)*<3<*$D:'  = B`B?<*$%(/%,( < +/%,( < +/%,( < +)?+\   SK"a(  `r a S # `}    ^ a# #"&::;:: `  a B-?0  ^ > @` a Bd/?H0 ^ K0.183*("  a Bh3?H^ L32.924*("  a Bp7?^ M226.542*("  a B;?^ Q Silver-Nickel(  "  a BF?0   > @` a BlH?H0  K0.391*("  a BtL?H L11.728*("  a BP? L80.701*("  a BT? LAluminum(  "  a B_?0   > @` a <da?H0  K0.184*("  a <le?H L32.576*("  a <i? M224.151*("  a <|m? JCopper( "  a Bq?0 F  > @` a By?HF0  K0.198*("  a B}?FH L29.102*("  a B?F M200.243*("  a B?F ISteel( "  a B? ^ DChange of Material has greatest effect on all three major parameters*E(D"  a B<?0 F > @` a <?H0 F Q Inharmonicity(  "  a < ?HF JVolume( "  a <d?F KTension( "  a <?F LMaterial(  " HB a C HB a C ^^HB a C ^HB a C ^ a 3 A``X  $ 0U 0H ` 0޽h ? 33___PPT10. +qD]' = @B D' = @BA?%,( < +O%,( < +D ' =%(%(D' =%(D=' =4@BBBB%(D' U=2y;BplayFrom(0.0)*<3<*aD:'  = B`B?<*a%(/%,( < +/%,( < +/%,( < +)?+  ;l(  lr 9l S   `}     8l# #"" `  0l B>?0   > @` /l B:?H0  K0.173*("  .l B2?H L33.123*("  -l B ? L231.74*("  ,l B? H53*("  *l B?0   > @` )l B?H0  K0.172*("  (l B?H L33.201*("  'l B? M232.834*("  &l B? L53.125*("  $l B?0 F  > @` #l B ?HF0  J0.17*("  "l Bd?FH L33.279*("  !l B?F M233.931*("   l B ?F K53.25*("  l BD?  `Tension and Volume are directly proportional to length, Inharmonicity is inversely proportional.(a `"  l B?0 F > @` l < ?H0 F Q Inharmonicity(  "  l < ?HF JVolume( "  l <?F KTension( "  l <?F SSpeaking Length( " HB 2l C HB 3l C HB 4l C HB 5l C  ;l 3 A`X $ 0U 0H l 0޽h ? 33___PPT10.+bD]' = @B D' = @BA?%,( < +O%,( < +D ' =%(%(D' =%(D=' =4@BBBB%(D' J=2y;BplayFrom(0.0)*<3<*;lD:'  = B`B?<*;l%(/%,( < +/%,( < +/%,( < +)?+r  ia;p(  pr 9p S   `}     8p# #"" `  0p B(?0   > @` /p B ?H0  K0.155*("  .p B?H L33.186*("  -p Bl5? M232.731*("  ,p B9? H47*("  *p BE?0   > @` )p BF?H0  K0.172*("  (p BJ?H L33.201*("  'p BN? M232.834*("  &p BR? H49*("  $p BV?0 F  > @` #p B^?HF0  J0.19*("  "p Bb?FH L33.217*("  !p Bf?F M232.943*("   p Bj?F H51*("  p Bn?  PAll three parameters are directly proportional. Greatest effect on Inharmonicity(Q P"  p Bz?0 F > @` p < |?H0 F Q Inharmonicity(  "  p <|?HF JVolume( "  p <?F KTension( "  p <?F HCore( " HB 2p C HB 3p C HB 4p C HB 5p C  ;p 3 A``X $ 0U 0H p 0޽h ? 33___PPT10. +bD]' = @B D' = @BA?%,( < +O%,( < +D ' =%(%(D' =%(D=' =4@BBBB%(D' Z=2y;BplayFrom(0.0)*<3<*;pD:'  = B`B?<*;p%(/%,( < +/%,( < +/%,( < +)?+  ;t.(  tr 9t S   `}     8t# #"" `  0t BLr?0   > @` /t BQ?H0  K0.176*("  .t BDI?H L31.781*("  -t B<? M222.877*("  ,t B? I225*("  *t Bܳ?0   > @` )t BP?H0  K0.172*("  (t Bd?H L33.201*("  't B? M232.834*("  &t B(ž? I230*("  $t B͞?0 F  > @` #t BϞ?HF0  K0.167*("  "t BҞ?FH L34.652*("  !t B֞?F M243.011*("   t Bڞ?F I235*(" ? t Bޞ?  Tension and Volume are directly proportional to length, Inharmonicity is inversely proportional. Greatest effect on Inharmonicity( "  t B?0 F > @` t <\?H0 F Q Inharmonicity(  "  t <?HF JVolume( "  t <?F KTension( "  t <T?F HWrap( " HB 2t C HB 3t C HB 4t C HB 5t C  ;t 3 A``X $ 0U 0H t 0޽h ? 33___PPT10._ +bD]' = @B D' = @BA?%,( < +O%,( < +D ' =%(%(D' =%(D=' =4@BBBB%(D' >=2y;BplayFrom(0.0)*<3<*;tD:'  = B`B?<*;t%(/%,( < +/%,( < +/%,( < +)?+m  d\;(  r 9 S  `}     8# #"" `  0 B?0   > @` / B?H0  K0.318*("  . B?H L31.781*("  - B? M222.877*("  , B ? J0.25*("  * B(,?0   > @` ) B-?H0  K0.524*("  ( B1?H L31.781*("  ' B5? M222.877*("  & B9? I0.5*("  $ B=?0 F  > @` # BE?HF0  I0.8*("  " BI?FH L31.781*("  ! BM?F M222.877*("    BQ?F J0.75*("   BU?  GInharmonicity is greatly affected by step length. Directly Proportional(H G"   Ba?0 F > @`  <b?H0 F Q Inharmonicity(  "   <hg?HF JVolume( "   <k?F KTension( "   <o?F HStep( " HB 2 C HB 3 C HB 4 C HB 5 C  ; 3 A``X $ 0U 0H  0޽h ? 33___PPT10.?E+bD]' = @B D' = @BA?%,( < +O%,( < +D ' =%(%(D' =%(D=' =4@BBBB%(D' r=2y;BplayFrom(0.0)*<3<*;D:'  = B`B?<*;%(/%,( < +/%,( < +/%,( < +)?+|  sk0;(  r 9 S r `}     8# #"" `  0 B<?0   > @` / B`?H0  J0.18*("  . B?H L31.781*("  - B? M222.877*("  , B@? I0.5*("  * B?0   > @` ) B?H0  K0.253*("  ( BТ?H L31.781*("  ' B? M222.877*("  & B? J0.75*("  $ B?0 F  > @` # Bз?HF0  K0.358*("  " B?FH L31.781*("  ! B?F M222.877*("    Bà?F G1*("   BǠ?  PInharmonicity is greatly affected by exposed core length. Directly Proportional.(Q P"   BӠ?0 F > @`  < ՠ?H0 F Q Inharmonicity(  "   <|٠?HF JVolume( "   <ݠ?F KTension( "   <p?F P Exposed Core(   " HB 2 C HB 3 C HB 4 C HB 5 C  ; 3 Ap0`X $ 0U 0H  0޽h ? 33___PPT10.PBh+bD]' = @B D' = @BA?%,( < +O%,( < +D ' =%(%(D' =%(D=' =4@BBBB%(D' =2y;BplayFrom(0.0)*<3<*;D:'  = B`B?<*;%(/%,( < +/%,( < +/%,( < +)?+?  6.((  (r ( S ` `}   r ( S , `   ( 3 Ap0`X $ 0U 0H ( 0޽h ? 33___PPT10.Ow +n&yD]' = @B D' = @BA?%,( < +O%,( < +D ' =%(%(D' =%(D=' =4@BBBB%(D' \f=2y;BplayFrom(0.0)*<3<*(D:'  = B`B?<*(%(/%,( < +/%,( < +/%,( < +)?+    ,n(  ,r , S  `}   r , S  `  LB , c $D P Xb , 0  ^ , 60  Xb , 0` P X , 00 @ Xb  , 0 P` Xb  , 0 @` LB  , c $D0 P LB  , c $D0 P0 LB  , c $D0 P d , <G@8 0` ^ , 6G$ 0` d , <G@8  ^ , 6G@8  f , 0"`   , 3 Ap0`X $ 0U 0H , 0޽h ? 33___PPT10.Ow +UtD]' = @B D' = @BA?%,( < +O%,( < +D ' =%(%(D' =%(D=' =4@BBBB%(D' ~=2y;BplayFrom(0.0)*<3<*,D:'  = B`B?<*,%(/%,( < +/%,( < +/%,( < +)?+B  91p,0\(  \r \ S | `}   LB \ c $DP Xb \ 0 P^ \ 6 Xb \ 0P  X \ 0 Xb  \ 0  P Xb  \ 0 P LB  \ c $D  LB  \ c $D P  LB  \ c $D  d \ <G@8 pP ^ \ 6G$ pP d \ <G@8  ^ \ 6G@8  f \ 0"`  RB \ s *D PP RB \ s *D RB \ s *D pp RB \ s *D  RB \ s *D  RB \ s *D   \ <   #Speaking Length \ 0   4Vbar  \ 0 *-  6Bridge RB \@ s *D0 P 0 RB \ s *D0 0   \ 0P @  4Step  !\ 0 :=  4Tail RB "\@ s *D  RB #\ s *D  LB $\ c $DLB %\ c $DLB &\ c $D0pp '\ 0( ` < Loop to Wrap   (\ 0$`p  >Length of Wrap RB )\@ s *Dp@RB *\ s *D RB +\@ s *DRB ,\ s *D@ .\ B)GkH  0  ? Core Diameter  /\ B-GHJ  @ @  ? Wrap Diameter  0\ 3 Ap0`X $ 0U 0H \ 0޽h ?/ .\/\ 33___PPT10.+wD]' = @B D' = @BA?%,( < +O%,( < +D ' =%(%(D' =%(D=' =4@BBBB%(D' ^=2y;BplayFrom(0.0)*<3<*0\D:'  = B`B?<*0\%(/%,( < +/%,( < +/%,( < +)?+?  6.0(  r  S h! `}  ! r  S ! ` !   3 Ap@0X $ 0U 0H  0޽h ? 33___PPT10.G+n&yD]' = @B D' = @BA?%,( < +O%,( < +D ' =%(%(D' =%(D=' =4@BBBB%(D'  6 PT (  T^ T S 0"   0  T c $r0 4   r What information does the string winder need to produce the bass string set we want? Core is pretty obvious, so is overall wrap diameter. It may be best to leave the final decision of wrap wire gauges up the winder. Specifying the step on double wrap is a good thing Loop to start of wrap is an important value as is Length of wrap. A string winder usually gives PLENTY of core at the bitter end. Bitter means unfinished or raw end, the tuning pin end. Tolerances are very important in any specification. What will be the range of error from ideal, or on the practical side, from specified, that can be acceptable? You and your supplier need to know and agree on these terms. Another value that string manufactures are requesting, rightly so, is the hitch pin diameter. It s not a value that is used in any calculations and thereby not required by evaluation tools. It makes sense though, that the closer fit the better for tuning stability and general craftsmanship of the finished product. Another side note in specifying parameters to a string maker. Does the winder want the measurements with the string at rest or at tension? As a rebuilder, you need to have both measurements at hand. Normally, Q.A. of the received strings will be at rest conditions. Values should be double checked when the instrument is close to target pitch.::r H T 0h\ ? 3380___PPT10.ww   0 X P `X (  X^ X S 0"   J  X c $0 4   ` Repair Estimate Guide recommends 6 hrs to capture scale data. Accuracy in collecting and recording of the original, or as found, scale data directly affects the quality of the evaluation and final scale installed in an instrument. The terminology used in this discussion is in concert with the SCALEMASTER scale evaluation software tool kit and may need to be interpreted to fit the specific evaluation tools used . Speaking Length: the distance from the bridge pin furthest from the hitch pin for the string being measured to the edge of the agraff furthest from the tuning pin  OR- bridge pin on the top bridge furthest from the tuning pin  OR- the center of the vbar or capo d astro bar. Simply put& termination points. Bridge to Loop: from the speaking length termination pin on the bridge. Bridge to start of wrap: speaking length termination pin on the bridge to the start of wrap (start of under wrap if double wound) V-BAR: top termination point to start of wrap. These two values are the exposed core lengths. And of course, core diameter and overall wrap diameter. How? When is the best time to get all of this data? Especially in the over strung area? Perhaps during the destructive phase. That is when taking the old strings off. Yes, that s a commitment! It can be done solo, but is far easier with a partner.1>>!u H X 0h\ ? 3380___PPT10.Љ< 0 2*(  ^  S 0"   $  c $00 4   fThese two graphs show the original scale tension in the top graph, and the tension of the scale used to restring this old Steinhauer ( a 1905 upright with steel wrapped strings). The section markers in this and the following graphs depict the double wrapped, single wrapped, tenor and treble section of the scale. The comparison shows little change in the double wrap section in tension, but a much smaller transition from single wound to plain wire and a considerably smother curve eliminating the  stair step of the original scale. Keep in mind that the final scale must incorporate the best compromise of Tension, Volume and Inharmonicity characteristics& Let s look at the volume curve.z 0H  0h\ ? 3380___PPT10.ZVf  0   ( (  ^  S 0"     c $0 4   The parameter of VOLUME needs a little explanation. It is a theoretical value based on a  standard hammer and  standard blow to produce a representation of relative volume based on mass and tension. It is a representation of loudness and sustain with out regard to the characteristics of the sound board or bearing. The inverse of volume is impedance or resistance of the string to produce sound. The JUMP from wound to plain has been eliminated. The original scale clearly demonstrates the classic stair step of holding the same wire gauge as long as possible as a compromise to manufacturing costs. As technicians when we restring, it costs us little in time or materials to change wire gauge as often as we wish. The final curve is very smooth and more closely follows an expected logarithmic curve. You may notice the graphs for volume are logarithmic. That is to say the distance from 1 to 10 is the same distance as 10 to 100. If this information was displayed in a linear mode the nuances would be lost.H  0h\ ? 3380___PPT10.\^  0   n (  ^  S 0"     c $0 4   d4Inharmonicity is the result of using real materials. Materials that have  stiffness . The  stiffness of the string results in an effective  dead zone at each node of the harmonics of a given string in a given position in the scale. This dead zone is what causes the speaking length of the harmonic to be shorter than the theoretical perfect length for the harmonic resulting in the harmonic being sharp to its ideal& . Therefore referred to as a partial rather than a harmonic. WHEW! What a mouthful. Inharmonicity for the purpose of scale evaluation is expressed in cents. This deviation is multiplied for each partial. For simplicity, the second partial is 2 times the Inharmonicity Constant, the forth partial is sharp by 4 times the constant. The formula is more complex than that, but it s a good analogy for this discussion. So look at the changes here from the original. Change from steel wrap to copper wrap is primarily responsible for better fitting the bass section. A little smoother across the bridge break and less  stair stepping .H  0h\ ? 3380___PPT10.\Ph  0 x(  ^  S 0"     c $0 4   n6The comparisons in this and the following slides were created by holding all other parameters of the string constant. This is not a resultant or final scale, just a comparison of change in a single element and the effects. This chart shows that a change in material significantly affects all three parameters..75H  0h\ ? 3380___PPT10.^   0    (  ^  S 0"      c $켡0 4    Changing the speaking length by 1/8 inch either side of center gives a very small change in the three parameters we are tracking, but its packed with good information. The small change here demonstrates the greater the accuracy of the data collection the more precise the results will be. It also shows that a minor pin misalignment may not be too serious: Tension changes only a couple of pounds, Volume change is hardly noticeable, Inharmonicity exhibits the greatest relational change. This data also shows that we are looking for something in the scale that stand out from the  noise before we change something. These changes as small as they are show us the relationship to Speaking length: Increase in Speaking length increases tension and volume but decreases Inharmonicity. Why? More length means more mass, more mass means the tension goes up to maintain the frequency of the specific note. More mass means more energy transferred to the bridge-sound board system for more volume. Greater length for no change in diameter means the  dead zone for each partial is realatively smaller for less Inharmonicity.bb6 !H  0h\ ? 3380___PPT10._plt"  0 2(  ^  S 0"     c $̡0 4   (Let s mess about with the core size. Here again the larger the core the more mass so its no surprise tension and volume react the same as with speaking length. It is probably obvious to the most casual observer that an increase in core diameter will affect the relative  stiffness of the string for the given speaking length there by directly increasing the Inharmonicity factor.}}H  0h\ ? 3380___PPT10.a[-  0   $ (  ^  S 0"      c $ڡ0 4    Most of the scale evaluation exercise is about the wrapped strings. Its where we have the most parameters to play with. This example has the overall wrap diameter changing by 5 mill increments. Just so we are all on the same page, a MILL is .001 inch, or a THOUSANDTH of an inch. Core and wrap diameters are expressed in MILLS as whole numbers. Back to the chart. Again messing with mass therefore changes are directly proportional. This time though, both of them show some real change. Inharmonicity is inversely proportional. Why? Changing the size of the core directly affects the  stiffness , but, wrap is at  90 degrees to the direction of stiffness (latitudenal vs longitudinal) and therefore has little effect on stiffness while adding mass and diameter or bulk. The difference in diameters is part of the Inharmonicity calculations with the net result of lowering the inharmonicithy for added diameter. Using the relationships of core to overall wrap diameter and the effects on tension, volume and Inharmonicity may help in the selection of the best fit universal string in a field repair.SS> H  0h\ ? 3380___PPT10.c# 0 0((  ^  S 0"   "  c $͡0 4   ~Step is the length of exposed under wrap or first layer wrap on a double wrapped string. Common step values are quarter, half , 3 quarter and 1 inch. The ration of diameters of over wrap wire to under wrap wire is general 3:1. This ratio prevents the over wrap from setting in the grooves if the under wrap was only half the diameter. This means there is a pretty significant change to account for. The table shows how dramatically Inharmonicity is affected by the step length. The greater the exposed difference the greater the Inharmonicity. The tension and volume calculations are affected so little by the step that it is not included in the calculations. That s why those numbers don t change H  0h\ ? 3380___PPT10.d=uV  0 f(  ^  S 0"     c $0 4   \Exposed core length is just like step. It is another step so the relationships hold the same: Volume and tension calculations are affected very little, so little so as to not even be a part of the formula. Inharmonicity is dramatically affected by exposed core length. This would indicate that like a short step, the shortest possible exposed core seems ideal. Keep in mind two good reasons to have some exposed core: The whole string must have some  clear room to displace during actively producing tone. WHAT??? If the wrap was right up to the bridge pin or agraff it would not vibrate well and reduce its sustain or would make a buzz. The other reason in scale alterations to leave  enough room at the agraff or vbar end is to accommodate for elongation. Elongation is the amount of stretch the string will experience as it is brought up to and maintained at design tension.tt>5H  0h\ ? 3380___PPT10.eX  0 h(  ^  S 0"     c $0 4   ^This diagram shows the various measurement points. The terminology is used in the SCALEMASTER evaluation tool kit and should be easily translated to any other tool. The math models use are all from Dave Roberts  Caluclating Technician articles from the Piano Technician s Guild Journal from September 1979 to April 1981. Thank you for participating in this presentation. I hope you found some good  take away stuff to apply to your next restring task. Look for other presentations on the website at www.oppor-tune-ist.com This is Mark Gallant, and this is a production of Oppor-TUNE-ist Piano Services.]]> PU 0 H  0h\ ? 3380___PPT10.gra"7?F(NoU\c+2,^_"cgsQyUp?vګuDkrzYyOec3X? !-~Oh+'0T `h  PIANO SCALE EVALUATION Mark GallantVAL Mark GallantVAL26kMicrosoft PowerPointN@``?@Ѝ8Lu@@/' GSg  )'    """)))UUUMMMBBB999|PP3f333f3333f3ffffff3f̙3ff333f333333333f33333333f33f3ff3f3f3f3333f33̙33333f333333f3333f3ffffff3f33ff3f3f3f3fff3ffffffffff3ffff̙fff3fffff3fff333f3f3ff3ff33f̙̙3̙ff̙̙̙3f̙3f333f3333f3ffffff3f̙3f3f3f333f3333f3ffffff3f̙3f3ffffffffff!___www4'A x(xKʦ """)))UUUMMMBBB999|PP3f3333f333ff3fffff3f3f̙f3333f3333333333f3333333f3f33ff3f3f3f3333f3333333f3̙33333f333ff3ffffff3f33f3ff3f3f3ffff3fffffffff3fffffff3f̙ffff3ff333f3ff33fff33f3ff̙3f3f3333f333ff3fffff̙̙3̙f̙̙̙3f̙3f3f3333f333ff3fffff3f3f̙3ffffffffff!___wwwܺНݴ׵ֵܺ׻՜.+,D՜.+,`    ( On-screen ShowOppor-TUNE-ist Piano Servicen!A ArialDefault DesignPIANO SCALE EVALUATIONAGENDA SCALE COPYBenefits of Scale EvaluationWinding Material Changes+Better Match to Historical CharacteristicsImprove Parametric ConsistencyTensionVolumeInharmonicityEVALUATION ELEMENTSChange in MaterialSpeaking LengthCoreWrapStep Exposed CoreString Specifications Data CaptureReference Illustration THANK YOU  Fonts UsedDesign Template Slide Titles 8@ _PID_HLINKSA|http://www.oppor-tune-ist.com/-mailto:opportuneist.pianoservice@Verizon.nethttp://www.oppor-tune-ist.com/$_ Mark GallantMark Gallant  !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxz{|}~      !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvxyz{|}~Root EntrydO)PicturesCurrent UserSummaryInformation(wTPowerPoint Document(yDocumentSummaryInformation8