"There is, of course, one more solution that would be even more effective: designing and installing laminated soundboards." I have often wondered how one goes about accurately thinning the edges of a soundboard. One of the things that is so cool about a laminated soundboard is that when thinning, the various laminates will be cut through and you will have an excellent visual guide to control the thinning process! Terry Farrell Piano Tuning & Service Tampa, Florida mfarrel2@tampabay.rr.com ----- Original Message ----- From: "Delwin D Fandrich" <pianobuilders@olynet.com> To: <pianotech@ptg.org> Sent: Monday, November 20, 2000 2:00 PM Subject: Re: ..stability issue.. > I've been following this thread with some interest. Of course, the comments > about the piano needing tuning -- at least a unison touch-up -- every couple > of weeks instead of every couple of months are correct. Considering the > humidity swings a bar/restaurant go through daily it is quite unrealistic to > expect a piano to stay in tune longer than that. > > Or is it? > > Humidity related tuning instability problems have been around since the > birth of the piano. Since this problem has been around so long, we now have > a pretty good idea of what causes these swings. And, at least one partial > solution, the Dampp-Chaser system. > > There is, of course, one more solution that would be even more effective: > designing and installing laminated soundboards. > > Now, don't throw up your hands in despair and tell me about how lousy they > sound -- I know better. The traditional laminated soundboards sound lousy > because they were either designed to sound lousy or they were not designed > at all. They were just kind of tossed at the piano with some vague hope > that somehow they wouldn't sound too bad. Others were deliberately designed > to sound crappy so that it would be easier to upgrade the cheapskate > customer to a 'better' -- i.e., more expensive -- piano. Yes, I have some > real horror stories.... > > There are really only two things keeping decent laminated soundboards out of > pianos today. One, of course, is a negative marketing history that would > (might) make them somewhat more difficult to sell. The marketing and sales > people would have to eat some of the incorrect information they have fed the > market about laminated soundboards. With some creative thinking -- and it > seams that nearly all of the creative thinking these days is going on in the > marketing departments -- this could be done. The other is design lethargy. > Or, perhaps, the virtual absence of product design budgets in many of the > remaining piano manufacturers. I remain unconvinced that it cannot be done. > I believe that if just one manufacturer brought out a line of > high-performance pianos using well designed laminated soundboards, it > wouldn't be long before others were forced to get in on the switchover. > > The benefits are clear: > -- Potentially better sound across the scale, especially through the > upper third of > the scale. > -- Better long-term tone stability. I.e., crown stability is better -- > tone would not > deteriorate through the upper third of the scale as is common with > some > soundboard designs. > -- Potentially lower manufacturing costs. > -- More consistent tone performance from one instrument to the next. > -- Far better tuning stability through even wildly swinging humidity > variations. > And, perhaps most important: > -- Much better utilization of a rapidly diminishing natural resource. > > Obviously this is not going to happen until the customer starts to demand a > better product. Actually, the customer is demanding something better -- > they are buying electronic keyboards to 'replace' the piano. And can we > blame them? Drunk customers can't tell the difference in sound and they > don't need tuning. I can think of no excuse -- well, ok, complacency and > fear -- for continuing to build pianos that have problems like this when we > can do so easily do so much better. > > Regards > > Del >
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