> > The down side is that the pianist isn't getting smacked in the > forehead with the disproportionately huge attack spike, and perceives > the piano as lacking power. Out in the hall, however, I find this > board and voicing combination to carry at least as well as the > percussive attack on the CC board, and to my ear, has a richer sound, > stronger in low partials. > > I agree. Pianists are used to a certain pain level as a barometer of hall filling power...its just a question of showing open minded ones the possibilities of a sound they haven't experienced yet. > Surf... Thunder... > I hadn't connected that...yes surf .... > >> This is why I'm particularly interested in other factors that are >> effecting the initial attack other than assuming that the rib scale >> is the only issue that is relevant. I am on board that it gives >> repeatable control over targeted spring, and will continue to commit >> my efforts to the refinement of that spring profile, but I'm also >> thinking hard about how the panel/bridge restricts that targeted rib >> spring in ways that I dont have a good handle on. > > Panel compression has to be a factor. I think this has a lot to do > with assembly efficiency, and a low panel compression assembly has a > deeper vibrational excursion than a high panel compression assembly > that won't go below it's "at rest" position. I don't see any way this > isn't a factor. I suspect that if you raised the panel compression > level in one of your boards (assembled at, say, 5%MC), the hammer > hardness tolerance would go way up. It wouldn't be an RC&S board then, > but should sound and react more like everything else out there. > My reference to panel involvement was ambiguous, I think . I was referring to the restriction imposed by the panel's grain angle and rim proximity etc. , not by 5%mc assembly (ie cc, which I have no interest in pursuing). I have to do some tests to get some sense of this, but I think, at least in a small belly, that the long grain of the board with in an agressive grain angle, 70 deg in my recent experiment, is acting as a beam, clamping down the designed spring of the ribs....and perhaps the conflicting angles of bridge and panel combine to form a type of crossbanded beam...a stiff combo. I also think that this "stiffening" behaves different tonally than the stiffening created by a CC board that has hit its compression limit. Jim I -- Jim Ialeggio grandpianosolutions.com 978- 425-9026 Shirley, MA
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