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Hi Dave
Well I tend to be an experiential type human & I know only that when I
hear something I like I expore it.
What I find interesting about what you've written below is that I see
you (over the last couple of years) moving incrementally toward, for all
practical purposes and based on what I've read on the list, a rib
crowned and supported board. While you are still drying the panel down
to 5.5% rather than the 6.5% that some of the RC&S people are doing, the
taller, rather than wider, more ribs, fanned perpendicular to the
bridge, cut-off bars, treble fish, is what I see in the RC&S designs.
> Well since I can't get close enough to any body elses redesigns to hear
them I have incrementally decided to expereiment in that direction. So I
need to do my own & make up my own mind. I'm a bit nervous about the outcome as
it's a huge financial risk & my yes , it is my piano. I have been thinkng
about the Killer octave problems & I surmise by conjecture & intimation from
other that what the remedy is is more support. so The Long A design is my
solution , hopefully. I may be dismally disappointed.
Having heard your boards and having heard others report on what they
hear, it would seem, at least on the surface, that rib versus
compression crowning is not a significant element in convincing people
about the authenticity of what they are hearing.
> Do you mean the sound speaks for it self regardless of the means to get
there? Then I'd agree.
Rather, it would
appear, it is some other confluence of factors: panel thickness,
shaping, grain angle, overall rib design and level of support, control
of moisture content; etc., the usual stuff. Since those who have heard
your pianos were not struck by anything unusual in their tonal output,
You mean other than they really like them?
would you then go so far as to say that RC&S, CC, RC&CC probably doesn't
much matter?
No I wouldn't. I.E.I've already stated my tonal preference for my Boards
with white spruce ribs Subjective though it may be I've heard enough of them
to know & all compreesion boards are made with sugar pine of which I've used
in the past as well. Also with good results but the white gives the sound more
clarity. JMHO.
I my find that all the usual stuff ,as you say, that I do in my usual
protocol may indeed prove to be a better formula for me since it's producing a
good outcome & is a known quaantity.
I'm always one to but the better mouse trap , so I'll see, & I will
report back with candor & honesty.... After the piano is sold...grin
At least in the short term? How each might hold up in the
long term and the consistency with which each can be produced, and,
moreover, the choices one makes about their own design elements might
yet be another matter. But from what is written below, it sounds as if
tonally, you are leaning toward what many of the RC&S designers are
advocating. Do I read that correctly?
Well all I know is that in many of the older designs I hear the most
sustain & musical life in are from these old boards. You explain it to me please.
Yes, They were probably compression crowned. I don't know if the ribs were
crowned except perhaps a little on the Ludwig. I haven't even checked the
crown. But I will & report after I take the strings off. Fair enough.
I do think that in any case the number of taller ribs gives more
stiffness to the crown support. & even when a board like those mentioned has only
little crown left they stil have amazing tonal properties. I'm just trying to
observe these design when they strike me as excellent sounding & then try to
find a reason. Simply with more ribs in the system adds more weight& stiffness
& thus more mechanical impedance.
In the Ludwig I don't find any weak notes. This piano is 100 years old.
Original strings. So all the concerns with longevity considering even slight
design improvements is almost a mute & funny point to me. I know my boards
won't cave in even in 75 yrs so for me Its about the sound... Yes! If these
other designs give me even more of what I want then.................
Regards & Wecome back from the Mountains Dave
Dale
David Love
davidlovepianos@comcast.net
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