Rose wire stringing for Zuckermann Flemish Double

I searched through many previous posts on this forum and didn’t find what I needed, so I’ll ask this: does anyone have a stringing table for a Zuckermann Flemish double calculated for Rose wire?

I contacted Richard Auber at Zuckermann, but he only has a chart designed with ZHI wire in mind (this, and several other useful tables, is found on their website) and suggested that I would need to adjust for Rose wire. Surely I’m not the first to restring a Zuckermann in Rose wire, so hopefully one of you here can share your previous findings.

New member here; thanks for your help!

You might contact Kevin Fryer. Depending on the exact design, he has made up stringing charts for Rose wire for these instruments.

JRL

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I have a schedule (in conjunction with ZHI brass) that I used satisfactorily for 20 years. I will supply it later today,

David

I think the main part of what is is asking is about the brass, as the iron differences would be negligible. Let the OP tell us.

Hello Albert,

Welcome to the list.

I frequently make stringing schemes for harpsichords. If you don’t mind doing a bit of measuring I can make one for you.

The ZHI one is readily available. The OP appears to want one specifically for Rose wire, presumably to deal with brass material differences.

I wonder how much difference is there between two different brasses or two different irons (within reasonable limits), when it comes to scheduling a stringing. I mean, there obviously are differences, but if we take two harpsichords more or less similar - let’s say two Taskins or two Grimaldis - are these differences more noticeable than overall differences in resonance, or soundboard thickness or any other individual subtle difference between the two harpsichords?

Of course we all aim to the best possible sound, so each improvement, albeit small, is welcome.

A lot. E.g.: Stohlberg messing can take a lot more pressure than Rose wire.
West-Fälischen eisen also can take a ton of stress. I use it to replace steel strings in revival instruments.

Surely physics characteristics are different, of course. But I was meaning sound-wise difference.

That’s a very good question. One should compare the same instrument with different strings…

Thank you all for your input on the subject! I am concerned almost entirely with the iron, not the brass. Zuckermann’s factory schedule presupposes ZHI wire, which we know has slightly different tensile properties than the same gauge in Rose wire; for that reason, I would only use the Zuckermann schedule as a guide, but there are approaches to optimizing the stringing design. (I have previously worked with Malcolm Rose’s book for this purpose, but given the ubiquity of Zuckermann instruments and Rose wire, I figure someone else has already figured this out!)

David Pickett has contacted me directly with some information he has about Rose wire on a Zuckermann Flemish double, but I would be glad to hear as many experiences on the subject as can be offered.