Steinway O Redesign

[Overs Pianos]

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Dale and all,

At 10:15 AM -0400 9/6/05, Erwinspiano@aol.com wrote:
>
>    Some months ago I started a project to answer a question about 
>the parameters of the old S.S. O sound board design
>     . I have always felt it's  board design  deficient. It seemed 
>that occasionally I'd find an old well preserved one here in CA that 
>really sounded quite good but most , even under the best of 
>circumstances had flat boards or just lifeless tone. The hazards of 
>C. C. crowning aside, this narrow design parameters & lack luster 
>tone I surmise  is one reason the model was changed in 1923  to the 
>more successful square tail design of the L.
>     The O I'm currently ushering out the door this week has a 
>redesigned board . I added a modest straight cutoff bar. I also 
>added an extra rib for more support in the treble so that in the 
>first capo section there are three ribs supporting the killer 
>octave.  These taller less wide ribs are also fanned into  the 
>treble.

I believe all are worthwhile initiatives, the cut-off really helps 
the mid section of the treble bridge to gain in stiffness, improving 
the tonal focus - removing that boomy undertone that can often be 
heard in the middle register. It also results in shortened middle 
order ribs which have more of a chance of surviving more just the 
first few seasons.

The first capo section for most conventionally bellied instruments, 
including the O, is the most grossly overloaded section of the entire 
board. The addition of an extra rib provides not only extra stiffness 
but extra mass. The mass increase will almost certainly help to yield 
more sustain.

>There is no more killer octave, no weak notes. It's strong & clear 
>with so much pop & power & wonderful sustain. All sustain freaks 
>should welcome this.

Indeed, when we added rib extensions (which significantly increased 
the overall rib height) to the 1968 CF Yamaha we rebuilt recently, 
the increase in sustain in the first capo section was most 
noticeable. Strangely enough, it seemed to have improved power also. 
I can only put this down to the possibility that the stiffer/heavier 
panel had improved efficiency relative to the standard item. 
Theoretically, if the sustain is increased, the power at the first 
part of tonal development should decrease.

>   In the best pianos you & I have heard, the tone floats & lingers 
>with a great bloom . I am very pleased this board design really 
>makes the O sing with more power clarity & sustain than any I've 
>heard..

Its a wonderful thing.

>  well except for maybe the Newer German O's 

In a lot of cases they don't do it for long, since they're grossly 
overloaded and are most reverse crowned within twenty years. I had 
two approx. 20 year old examples in the shop last year for repairs 
(unfortunately new sound boards were not part of the work). Both were 
totally inside out in the second top section.

>   My brother Keith came into the shop & I played one chord for him. 
>He looked at me in amazement & said "it sounds like the board is 
>just completely free" A musician but he knows only what he hears & 
>nothing about soundboard design!
>   Truly gratifying. I hope the client appreciates it as much as I 
>do. If I can find the pictures I'll send done or two.

Look forward to seeing them.

>   BTW this had a plate broken by Gorilla bros. It was successfully 
>repaired by the Loch-n- stich folks in Turlock CA. 15 miles a way . 
>Convenient yes?

Congratulations to you and David for your initiative and courage in 
setting up your new product display centre in LA. This industry needs 
more people with courage, rather than those who cower behind a 
tradition which should only be part of the history of where we've 
been.

Ron O.
-- 
OVERS PIANOS - SYDNEY
    Grand Piano Manufacturers
_______________________

Web http://overspianos.com.au
mailto:ron@overspianos.com.au
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