[CAUT] Bridge root material

[Keith Roberts]

At first I thought it was dim light and yellowing shellac that had confused
me. So I sanded it down a little and it looks like Oak to me and my buddy.
It is a German Piano and so must be of European origin.

But then again, Hemholtz used holes to isolate frequency and project sound
directionally. That holes are a sound absorbing medium is not true. They are
a heat absorbing as insulation but all insulations do not make great sound
barriers. Still, it's probably not as good
KR

On Fri, Oct 1, 2010 at 10:15 AM, Delwin D Fandrich <del at fandrichpiano.com>wrote:

>
>
> *From:* caut-bounces at ptg.org [mailto:caut-bounces at ptg.org] *On Behalf Of *Keith
> Roberts
> *Sent:* Friday, October 01, 2010 9:13 AM
> *To:* caut at ptg.org
> *Subject:* [CAUT] Bridge root material
>
>
>
> I'm redoing an upright. One of those Shimmells that is all plate and the
> size of a spinet. The bridge root is oak. Now I'm curious about the
> difference between maple and oak as a bridge root. Your ideas gentlemen,
> please.
>
>
>
> Well, let’s see…oak is a ring porous wood, is it not? That means it has
> open pores. Stands to reason, then, that when the sound reaches one of these
> open pores—a hole in the bridge root, if you will—it will slow down. Indeed,
> if the bridge root has enough of these open pores the sound might well slow
> down so much it will simply stop and never get to the soundboard at all. I
> can see the makings of a whole new “Silent Piano” technology developing
> here.
>
>
>
> This would never happen, of course, with a maple bridge root. Here all you
> would have to worry about is the glue joint between the bridge cap and the
> bridge root. Oh, yes, and the glue joint between the bridge root and the
> soundboard.
>
>
>
>
>
>
>
> On another note, those pianos have no back posts. The ribs are crowned. I
> was able to insatll a nicer cutoff bar and added a fish. It actually looks
> more like a whale. Then I adjusted the rib scale and diaphramed the board.
> If Mazzigilia had a plane that would cut the sides of the rib down, that
> would be great. I like tall skinney ribs instead wide flat ones. The boom of
> the board has very interesting character now. It was BOOM-uh. Now the
> boom sustain is rich and has an overtone that sounds like the 12th. It leaps
> into the mix a fraction of a second after the main boom. I'm having too much
> fun....
>
>
>
> I don’t suppose you have any pictures of all this?
>
>
>
> ddf
>
>
>
> Delwin D Fandrich
>
> Piano Design & Fabrication
>
> 620 South Tower Avenue
>
> Centralia, Washington 98531 USA
>
> del at fandrichpiano.com
>
> ddfandrich at gmail.com
> Phone  360.736.7563
>
>
>
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