soundboards

[Stéphane Collin]

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Hi all.

The main stream of technically oriented thinking about piano soundboard =
is, I believe, that it works as a transducer to transform the energy put =
into the string by the hammer stroke into acoustic energy percieved as =
sound.
The easy way to appreciate a soundboard in this regard is to say :" the =
better it does it's job, that is transform that energy with as less =
possible loss and deformation, the better the soundboard ".  This is =
easy because there are simple easily observable and controllable =
parameters that tell you you are right in this regard : volume, sustain =
and evenness across the scale.
It is easy to observe that this piano has the ability to produce sounds =
of more volume than that one, notes that sound longer, and =
characteristics that change in a more smooth way over the scale.
It is less easy, but feasable to control and apply desing parameters who =
will obviously tend to reach the goal of maximizing those three =
aesthetic parameters.

While I am full of admiration for those who are dedicated to this =
research (I know, this may not be obvious in my posts, but believe me, I =
really am : it is just that I must advocate the other way of thinking), =
I just can't hide my feeling, that this is an oversimplified way to =
think about the matter.

A soundboard is a filter (even a resonant one).  No way all the energy =
of the string will ever end up in acoustic energy, nor will the =
ineluctable losses ever be even through the scale.  And that is great.  =
A soundboard has a personality that comes from what one would describe =
as defects in regard of the basis parameters.  I would describe the =
personality of a board as the unique blend it features between many more =
parameters, such as subtle and aesthetically more or less interesting =
discrepencies curves in volume, sustain and evenness across the scale of =
each of the partials of each note, their thump, and the resonances in =
release phase.
Unfortunately (ah, maybe not), this is much less easy to have under =
control, and leads us to humility in front of the miracle of nature, as =
there exist some blends that make you believe in god, while others, euh, =
not really.

This being said, my opinion about old soundboards is that they have =
gathered with time (cell crush, down in resine percentage, loss of =
elasticity, whatever) a stronger and more unique personality, as defined =
here.  The whole life of a soundboard contributes to it's unique sound.  =
This doesn't mean that all personalities please me.  But the =
personalities who do are not at all the most powerful and long lasting =
and most even across scale of every parameter ones.

Time for another idea that I would like to read reactions about.  About =
those old violins who sound better, I think it is an optical illusion. =
After all, a violin is cheap to make, compared with a piano.  So, when =
it is time for a violin to be restored, exactly like pianos, the =
question arises whether it is worth the restoration, as everybody knows =
that for a cheap instrument, the restoration costs are sometimes =
superior to the cost of a new similar one.  So, logically, the Strads =
that we still see now are the ones who were from the beginning =
considered as good instruments : good enough to be worth restoring and =
restoring again.  Time has made the selection, like the instruments of =
Guarnieri or Amati.  Be sure those who still exist represent a small =
percentage of the best instruments of the best makers.  Be sure the same =
makers have made instruments that were not considered, in their time, =
worth to be restored when needed, and that is why they disappeared.
Same for old boards, in my opinion.  When I hear an old piano in need of =
restoration, I always take the time to tune it, and I can then hear, =
even with worn hammers, loss of crown etc. if the board has a =
personality (that is, thus, a blend of so called defects) that makes me =
want to give it it's chance to appear in full monthy.  If I don't feel =
it has potential, I don't buy it.

Newer boards may or may not have personality.  In my world, they are =
like 1m75 blondes with B2 breasts and sinusoidal shape at hips with 65 =
kg weight and red lipstick.  Why do I prefer redheads with the nose =
slightly bent to the left a tiny bit overweight and with intelligence in =
the look ?

Friendly greetings,

St=E9phane Collin.





----- Original Message -----=20
  From: Performance Music=20
  To: Piano-Tech=20
  Sent: Monday, January 17, 2005 7:52 PM
  Subject: soundboards


  List,
      I would like to start a thread about soundboards. =20

      Many technicians replace soundboards, when the soundboard is =
'dead'.  Is it because the wood is 'dead' and will no longer amplify the =
sound, or is it because of other factors such as the board losing its =
crown, etc? =20

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