On 11/26/2010 9:54 AM, johnparham at piano88.com wrote: > Thanks for verbalizing this technique. I was exposed to it several > years ago and use it fairly frequently. I have no idea how widespread > this idea is. Without overstating the obvious, I wonder if it is worth > posting in TT&T (I'm always looking!) There is already a pretty thorough article about this and other "after-the-fact" soundboard impedance shifting techniques compiled by Barbara Richmond in the August 2007Journal. Ron Nossaman, Darrell Fandrich & John Rhodes weighed in on the subject. > More interestingly, I wonder if there are other simple, handy techniques > that other technicians use when collecting diagnostic information about > the soundboard variable? > Yes. I have been experimenting with a set of techniques which I am using to identify the structural causes of undesirable piano tone. I've actually just completed using a whole raft of them on a "finished" piano, to excellent effect. They are relatively simple tests which can be used not only as way to identify structural weaknesses, but more importantly, they can be used to determine: - whether "after-the-fact" structural modifications would work in addressing that weakness - what the modifications would be - where they should be located for best results. It's not exactly rocket science. In fact, as I said, the techniques are pretty simple. However, used on an instrument with at least a minimally functional soundboard, if employed strategically, they have the potential to improve entire regions of the tonal register without touching the hammers. They also have the potential to greatly improve one's sense of what it takes to create a structurally adequate rebuild, without having to go back after-the-fact to address inadequacies. I'm using the word "structure" in a piano to refer to a what I see as a 4 component system: 1- soundboard/ rib scale/ bridge 2- case/ belly rail and support bracing 3- plate structure 4- nosebolt and rim bolts tying the above three systems into a cohesive whole. #1 the belly structure is well accepted as an essential component that creates beautiful piano tone, but #'s 2, 3 & 4 for many of us escape being fingered for tonal deficiencies they can create. As a happy bonus, #'s 2, 3 & 4 are easier to think about and deal with than soundboard structure, so they only present a minor intimidation factor. All of these systems have been discussed at great length on this list, so, rather than just start another thread repeating the already oft rehearsed structural issues, I'm in the process of coming up with a way to present this set of tests in a convention class setting. The goal: to demonstrate on a piano, physically and aurally in real time, how oft ignored structural issues can globally improve or ruin tonal characteristics...to show techniques that allow one to both isolate the deficiencies, and give some ideas on how to deal with them. Again...global, stable, tonal improvement without touching the hammers. John, your question asked about the "soundboard variable". I would suggest that the "structure" in its entirety, ie soundboard system/case/plate/and case-to-plate connection, not just the soundboard, needs to be considered as the variable(s). Jim I -- Jim Ialeggio grandpianosolutions.com 978- 425-9026 Shirley, MA
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