Even volume distribution within a piano scale
Adjustment of the 1-, 2- and 3-unison strings

Meaning of:
1) Tensile force per string
2) Tensile force per unison
3) Relative tensile force distribution
4) Loudness index

Even distribution of sound quality within a piano scale
Adaptation of the plain strings to the wound strings
Adaptation of single-wound strings to double-wound strings
Sonic breaks around plate bars

Meaning of:
1) Speaking length
2) Harmonicity of the speaking length
3) Inharmonicity
4) Harmonicity
5) Load to the breaking point

Adjustment of the stringing to the soundboard

Meaning of:
1) String impedance
2) Soundboard impedance

Adaptation of the hammer heads to the stringing

Meaning of:
1) attack time
2) Striking length

Strategies for optimising scales

Every seminar participant can send me a piano scale up to one week before the start of the seminar, whose analysis and optimisation can be discussed at the seminar

I will be happy to send you the scale form by email if required
Please contact me at petertholey@gmx.de

Peter Tholey
For anyone who has ever delved deeper into the subject of fencing than required in school, Peter Tholey is a familiar name. Back in the 1990s, he released a computer program that allowed users to optimize fencing distances. At that time, programming was still manageable for those interested, and the computer output as a list was considered revolutionary. What Peter Tholey achieved was, and remains, groundbreaking.

Some 30 years later, Peter Tholey decided to take a different approach. Out of the computer's black box and into understanding. He explains how it works in seminars. And that's precisely what he has now done in his new book. Peter Tholey explains step by step how we can optimize a fencing distance. And there's a lot that can be done. The book is easy to read and very clearly written. The mathematics is presented perfectly – those who are averse to it can simply skip the math and still gain a deep understanding of the subject. He not only covers inharmonicity and harmonicity, but also explains, almost as an aside, why a soundboard sounds the way it does, or doesn't. The key word here is impedance.

All of this is supported by a large collection of examples, which are impressive in themselves.

In short: Highly recommended. A must-read for any piano technician.