----- Original Message ----- From: "Marcel Carey" <mcpiano@globetrotter.net> To: "pianotech" <pianotech@ptg.org> Sent: August 07, 2002 5:12 PM Subject: Mason&Hamlin A board replacement > Hi! > > I've just taken out the board of the above mentionned piano. It's the > first time I see a board that was so well glued and screwed down. > Would it be better to float the bass end of this particular model? And > isn't the ribbing a little too stiff in the treble? > > To me there are a lot of ribs in the treble. Would I just be looking > for trouble if I were to try to improve it? And if I did, I surely > would like to have some previous experience feedback from some of you > PLEASE. > > Marcel Carey, RPT > 2852 Dussault > Rock Forest QC > J1N 2V6 > (819) 564-0447 > mcpiano@globetrotter.net Marcel, I'll be surprised if you get more than guarded responses to a generalized set of questions like this. There are far too many variables involved to give specific answers. So much depends on your own personal experience and your own knowledge of piano structure and theory. If I say, "yes--float the bass," (and I would) I have a specific design in mind based on my experience with floating soundboards. I'm probably thinking of a new bass bridge, as well--one with no cantilever. And a new bass string scale. And vertical hitches (at least through the bass section). It will probably also have a transition bridge in the low tenor. It is doubtful that you will have the same image in your mind as you read my answer. The same with the ribs. What do you mean by "a lot of ribs..." How was the original board crowned? How are you planning to crown the new board? What are the ribs made out of? What are your new ribs going to be made of? Are you leaving them in the same location? What will their cross-section be? How thick is the new soundboard going to be? What is the grain-angle of the new board? Are you changing the scale? Are you moving the bridge? Are you making a new bridge? There is simply too many variations to the theme to give pat answers. I'll be presenting another all-day seminar on this subject for the Pomona Valley (California) chapter next month and in six-plus hours I'll only scratch the surface of the various possibilities. I come back to my standard advice on this question: Learn all you can about how soundboards work--not just how to install them, but how they work. There is a fair amount written on this now. And there are even convention classes showing up from time to time. Thirty years ago you'd have been on your own but today, by comparison, there is a veritable wealth of information available. Buy a couple of pianos you won't mind writing off if need be and start experimenting. It's great fun and infinitely rewarding. But going in half-informed can get you into real trouble real fast. Del >
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