Rebuilding for Performance or Show?

[Isaac OLEG]

Terry

I do not replicate boards for sure, but I was shown a way of
evaluating the amount of give that the soundboard assembly have took
with time , with a "finished elements analysis" based on the ribs
size, the strings tension, panel thickness and kind of wood, and then
obtaining expected crown to begin with (a very ambitious project I may
say ).

This seem interesting on the paper (may say on the screen), but may be
it is also oversimplification the problem to a shape problem, that is
only part of the picture for sure.

Nowadays I suppose that one having a good idea of how the system works
is able to understand with time and experience, how this was setup to
begin with.

Reverse engineering, to use modern terminology !

Friends that work more on historical instruments have all precise
ideas about it, so it may be not so impossible to tell in the end.

Isaac OLEG

Entretien et réparation de pianos.

PianoTech
17 rue de Choisy
94400 VITRY sur SEINE
FRANCE
tel : 033 01 47 18 06 98
fax : 033 01 47 18 06 90
cell: 06 60 42 58 77

> -----Message d'origine-----
> De : pianotech-bounces@ptg.org
> [mailto:pianotech-bounces@ptg.org]De la
> part de Farrell
> Envoyé : vendredi 18 avril 2003 02:54
> À : Pianotech
> Objet : Re: Rebuilding for Performance or Show?
>
>
> > About SB replacements, it is fairly possible to ask
> duplication of a
> > board's panel in Ciresa, and have all the parts delivered
> un ribbed,
> > ribs straights  so it is up to the rebuilder to glue and
> shape himself
> > the way he wants to.
>
> How do you duplicate an original soundboard when most often
> you don't know if or how much a radius was machined into
> the ribs, you don't know what radii cauls may have been
> used during rib-to-panel glue up, and you don't know the
> panel moisture content at rib-to-panel glue up. So if you
> do it the way you want to, are you not redesigning the soundboard?
>
> Terry Farrell
>
> ----- Original Message -----
> From: "Isaac OLEG" <oleg-i@wanadoo.fr>
> To: "Pianotech" <pianotech@ptg.org>
> Sent: Thursday, April 17, 2003 4:22 PM
> Subject: RE: Rebuilding for Performance or Show?
>
>
> > Any Soundboard changes I've talked about with friend
> techs have shown
> > disappointing results at first, because the original thin tone was
> > gone for something more difficult to define (lost of time
> reperes).
> >
> > Does not mean of course it is a bad idea to change a
> soundboard, but
> > this kind of work have to be done on the restore 's own
> instruments.
> >
> > It seem very risky to sell that kind of work to a
> customer, even when
> > explaining him the process.
> >
> > I have heard also a very interesting concept (interesting for
> > depressive techs !) is about the S shape that the
> soundboard tend to
> > take in the killer zone :
> > UI was said that this shape (inflexion point) gives a more stable
> > figure to the soundboard, and that in fact this shape is
> wanted for
> > instance on harpsichords, as being more stable and having
> an advantage
> > in tone because of that.
> >
> > Our German's rhetoricians can't buy the idea that
> deformation can be
> > something good, but I see no reason actually against it, if that
> > provide a better acoustical work.
> >
> > This at last is new !
> >
> > Best regards.
> >
> > About SB replacements, it is fairly possible to ask
> duplication of a
> > board's panel in Ciresa, and have all the parts delivered
> un ribbed,
> > ribs straights  so it is up to the rebuilder to glue and
> shape himself
> > the way he wants to.
> >
> >
> > Isaac OLEG
> >
> > Entretien et reparation de pianos.
> >
> > PianoTech
> > 17 rue de Choisy
> > 94400 VITRY sur SEINE
> > FRANCE
> > tel : 033 01 47 18 06 98
> > fax : 033 01 47 18 06 90
> > cell: 06 60 42 58 77
> >
> > > -----Message d'origine-----
> > > De : pianotech-bounces@ptg.org
> > > [mailto:pianotech-bounces@ptg.org]De la
> > > part de Ron Nossaman
> > > Envoye : jeudi 17 avril 2003 17:38
> > > A : Pianotech
> > > Objet : Re: Rebuilding for Performance or Show?
> > >
> > >
> > >
> > > >And for some rebuilders, performance is defined by $$
> > > generated by piano
> > > >sale. Hence a good reason to help perpetuate the myth that
> > > the piano was
> > > >"perfected" over a hundred years ago. It is almost always
> > > cheeper to
> > > >duplicate that to change.
> > >
> > > It's even cheaper to declare that certain expensive parts
> > > are immortal, and
> > > that a little cosmetic work will restore them to like new
> > > condition. The
> > > piano will still sell for as much as if it were more
> > > completely rebuilt
> > > than less, but the profit margin is higher. I've lost a
> > > whole lot of
> > > rebuild work to bids that were 80% of mine, covering less
> > > than half the
> > > work I outlined.
> > >
> > >
> > > >Also I believe $$ is the main reason for the widespread
> > > formula applied to
> > > >many, many 100 year old high quality pianos: keytops,
> > > hammers, dampers,
> > > >shim, strings, refinish.
> > > >
> > > >Terry Farrell
> > >
> > > And lower the plate to get measurable bearing. Mustn't
> forget that.
> > >
> > > Ron N
> > >
> > > _______________________________________________
> > > pianotech list info:
https://www.moypiano.com/resources/#archives
> >
>
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