This comparison of Roslau and Paulello music wires used for the note C3 130.81 Hz, is centred on the tonal differences which are influenced by the hardness and tensile strength of the two wires. The ‘M’ Paulello string has the greater tensile strength.

1a.9 C4 String Scaling.

The Paulello/Stuart string is 1.5mm longer the Roslau/Steinway, and is set at 3.5kg higher tension. The diameter of the Paulello/Stuart wire is 25mm thicker than the Roslau/Steinway wire. The tensile strength of the Paulello/Stuart wire is 177 N/mm² higher and the yield or capacity of the Roslau/Steinway wire is 3.6% higher than Paulello/Stuart.

1a.10 C5 String Scaling.

For the note C5, the diameter of the Paulello-Stuart wire is 35mm thicker, the tensile strength of the Paulello/Stuart wire is 138 N/mm² higher . The Paulello-Stuart wire for C5 is 4.5mm longer, and is set at 7kg higher tension. The yield or capacity of the Paulello-Stuart wire is approximately 10% higher than the Roslau-Steinway wire.

1a.11 Stuart Design Impetus – quotations.

Standardisation.

Wayne Stuart:-
The industrialization of piano manufacturing during the 20th century abdicated the critical aesthetic choices to mechanical engineers and non piano building related disciplines. This has produced so called piano makers unable to realise a workable, individual design. Thus, copying of derivative designs and adherence to past ideologies in an attempt to hold onto the so called core essence of what many believe the acoustic piano to be, underpins a crisis in potency and direction.⁵¹⁹

Stephen Paulello:-
In the years 1880, the instrument was almost perfected; complaints from pianists and composers became less insistent and growing enthusiasm for the piano led to increased demand. It was necessary to put a brake on the exuberant inventiveness of the XIX century craftsmen and move on to rational, industrial production. Piano makers conformed progressively to the technologies of the most enterprising and well-established manufacturers of the era. Inevitably, the sonority of pianos lost its diversity to a common aesthetic. Since then, the trend of standardization has been validated by the explosion of production in Asia, where the base model is conscientiously reproduced. It is therefore normal to think that all pianos are alike because the instrument has reached its final form and is a perfectly finished product.⁵²⁰

Keyboard Compass- Ambitus, Stuart & Sons website:-
Since the beginning of music, composers have written beyond the imposed frequency limitations of their time. Stuart & Sons are respectful of composers whose vision extends beyond the 88 digits of the late 19th century. Stuart & Sons recognises that once a composition is written for a range greater than the so called norm it is the duty of the instrument maker to realise that range if it is at all practically possible. Therefore, given the advanced wire of Stephen Paulello, a French piano maker, it was inconceivable to limit these new generation pianos to 88 keys but rather, to aim for the ultimate goal of 9 octaves for the chromatic scale.⁵²¹

Wayne Stuart :-
Pianos have to be designed around these limitations and most of the issues in traditional designs stem from music wire limitations. The 7 trichord bass string groupings of the model D Steinway is a classic example of music wire limitations.⁵²² The problem with thin wound strings is that they are unstable and often sound rather poor. In this region [tenor strings] the very thin core and covering combinations are also weak in sound and Steinway uses three instead of two. Wound strings are

^{519     3} Stuart, A Bright Light in a Stagnant Pond. (5/2/2012) ,3.
http://pianoinforoom.blogspot.de/2013/02/stuart-sons-pianos-bright-light-in.html
^{520     10} Paulello, “concept page,” accessed 19 June,2013.
^{521     10} Stuart &Sons Handcrafted Pianos ,“The Ambitus,”accessed 1st Sept, 2015.
⁵²² Wayne Stuart, email interview with author, 23rd November, 2012.