All this seems to fit perfectly with my experience with this instrument,
and what I <<think>> I have learned from all these discussions through
the years thanks to likes of Nossaman, Over, Del... and those others
whome have come and gone along the way.
It also fits with my present project that is finally nearing
completion... the old Bluthner. For those of you who are interested...
I provide a picture of the back side of the original soundboard below.
With lines drawn to points where temporary stiffness has been added for
diagnostics that has improved the fullness of the sound to a very large
degree. It raises questions in my mind about what happens to other
areas (other then the killer octave region) of the instrument when the
panel has too little stiffness relative to the string plane.
Cheers
RicB
Right. We always talk about stiffness compromised treble sections in
terms
of sustain, but it is interesting to note that on many historical pianos
with very light scales and similarly light weight, often older and not
terribly stiff assemblies, the sustain in the upper areas seems quite
adequate. The lower tension scales definitely have their own
character but,
as has been argued many times, when the scale (and accompanying
downbearing)
matches the soundboard assembly and with it you put a hammer of
appropriate
weight/density/resilience, good things can happen. It's the mismatch
between
those three components either by poor execution, design or change
over time
that most often creates tonal problems--all other things being equal, of
course--and reduced to the simplest terms. At least that's my
observation.
David Love
davidlovepianos at comcast.net
www.davidlovepianos.com
> Lower tension scales need lighter boards and vice versa. If the
board is
> compromised somewhat in terms of stiffness, why wouldn't reducing the
> tensions help somewhat?
>
> David Love
Tension, and resulting bearing load, yes.
Ron N
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