© Tilman Skowroneck 2013
I have mentioned this before. I am not convinced that a given harpsichord can be substantially improved by putting up some new strings.
In fact I am rather convinced of the opposite, which is that random changes to a given design (and the stringing of a harpsichord belongs, or should belong, to its maker’s design choices) not normally result in a major shift toward a better tone. The expectation that a harpsichord can be optimized by applying a number of relatively simple tricks, or by experimenting with some new string material, is usually rewarded by some kind of disappointment. In my experience, a truly noticeable shift in a harpsichord’s quality often goes in the other direction: it happens when the instrument is being neglected. Improvement is a much more hard-won thing, especially when the instrument is assembled and ready to be used.
So what I will discuss here below should be seen as an exception, as I am about to introduce an exceptionally well-suited string material which actually does, within reasonable limits, improve the tone and tuning properties of a harpsichord:
Over the past decade or so, Stephen Birkett of the University of Waterloo, Canada, has researched the properties of historical iron strings, and has come up with a formula to produce iron wire with very similar properties. This so-called P-wire is now becoming available (here is some more information about it), and I have had the chance to test it in three quite different harpsichords with a Flemish-French mixed scaling (brass in the bass, and iron from the tenor upward). (more…)