[pianotech] re. Small vise grips for mass loading

[johnparham at piano88.com]

Thanks, Jim!

-John Parham

> -------- Original Message --------
> Subject: Re: [pianotech] re. Small vise grips for mass loading
> From: jimialeggio <jimialeggio at gmail.com>
> Date: Sun, November 28, 2010 1:02 pm
> To: pianotech <pianotech at ptg.org>
> 
> 
> 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