jimialeggio wrote: > So shifting of the grain angle up adjusts this, putting tenor/low > tenor/bass ribs closer to perpendicular to the grain, and high treble > closer to parallel to long grain. That's my take on it. Essentially free treble stiffness. I also considered that the grain more sort of parallel to the long tenor bridge section meant the control provided by the ribs (more or less perpendicular to the bridge) was more predictable through the bottom half of the scale. Now we have a grain angle hammer hardness tolerance factor to play with too. Curiouser and curiouser. Ron N
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