Pictures of Intereting Sound board designs (Modified byKentSwafford)

[David Love]

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Well, I guess what I mean is that even though you are not doing the
boards like Steinway does them (or did them), nobody is jumping up and
down saying that it doesn't sound like a Steinway.  Moreover, they are
saying some very nice things about how the pianos are sounding.  My
compliments.  The question when all this started was whether the various
approaches were just different ways to skin a cat, so to speak, that
there is nothing inherent in the CC method that produces that "Steinway"
sound.   Given a Steinway rim, there are various ways to get there.
>From what you describe as your methodology and from the responses to the
product, it would seem that yours is some evidence to that.  That's all.

 
And thanks, the mountains were great.  No pianos!
 
David Love
davidlovepianos@comcast.net 
-----Original Message-----
From: pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org] On
Behalf Of Erwinspiano@aol.com
Sent: Saturday, February 26, 2005 9:30 PM
To: pianotech@ptg.org
Subject: Re: Pictures of Intereting Sound board designs (Modified
byKentSwafford)
 
     Hi Dave
 Well I tend to be an experiential type human & I know only that  when I
hear something I like I expore it.
 
  > Well since I can't get close enough to any body elses  redesigns to
hear them I have incrementally decided to expereiment in that direction.
So I need to do my own & make up my own mind. I'm a bit nervous about
the outcome as it's a huge financial risk & my yes , it is my piano. I
have been thinkng about the Killer octave problems & I surmise by
conjecture & intimation from other that what the remedy is is more
support. so The Long A design is my solution , hopefully. I may be
dismally disappointed.
  > Do you mean the sound speaks for it self regardless of the means to
get there? Then I'd agree.
 You mean other than they really like them?
  No I wouldn't. I.E.I've already stated my tonal preference for my
Boards with white spruce ribs Subjective though it may be I've heard
enough of them to know & all compreesion boards are made with sugar pine
of which I've used in the past as well. Also with good results but the
white gives the sound more clarity. JMHO.
    I my find that all the usual stuff ,as you say, that I do in my
usual protocol may indeed prove to be a better formula for me since it's
producing a good outcome & is a known quaantity.
    I'm always one to but the better mouse trap , so I'll see, & I will
report back with candor & honesty.... After the piano is sold...grin
 Well all I know  is that in many of the older designs I hear the most
sustain & musical life in are from these old boards. You explain it to
me please. Yes,  They were probably compression crowned. I don't  know
if the ribs were crowned  except perhaps a little on the Ludwig. I
haven't even checked the crown. But I will & report after I take the
strings off. Fair enough.
   I do think that in any case the number of taller ribs gives more
stiffness to the crown support. & even when a board like those mentioned
has only little crown left they stil have amazing tonal properties. I'm
just trying to observe these design when they strike me as excellent
sounding & then try to find a reason. Simply with more ribs in the
system adds more weight& stiffness & thus more mechanical impedance. 
  In the Ludwig I don't find any weak notes. This piano is 100 years
old. Original strings.  So all the concerns with longevity considering
even slight design improvements is almost a mute & funny point to me. I
know my boards won't cave in even in 75 yrs so for me  Its about the
sound... Yes! If these other designs give me even more of what I want
then.................
  Regards & Wecome back from the  Mountains Dave
  Dale


David Love
davidlovepianos@comcast.net 
 

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