Hi one and all. Just a couple clarifications to Terrys announcement. The instrument is indeed first year production Bluthner Patent Grand. The university and I share ownership of this instrument. The soundboard we built was designed not to just keep the origional visuals intact, but to strengthen the existing design. It is my thinkng that Bluthner used grain direction purposely perpendicular to the bridge because it is strongest that way. This would provide a some measure of any needed support against whatever downbearing there was. Ribs alligned cross grain then in such an arrangement will yeild minimal support (relative to modern design) especially in the treble. However the ribs do provide a secondary mission of importance in dealing with anisotropic property of the panel with all that implies for sound transmission across grain. The laminated crown and the way we did it, is meant to strengthen the treble area and basically leave the bass alone. As Terry said.. 3 plys were used. The outside two go in the same direction as the origional panel, while the inside one is offset roughly 20 degrees and because of its taper ends about 2/3s of the way from the belly. Essentially the bass area and lower tenor is unchanged from the origional while the rest of the board has increased stiffness and crown. This is going to allow me to introduce just a bit more tension on the instrument by lengthening the treble part of the scale very slightly, and allow for some measure of downbearing. The highest treble DOES have an effective support... its just not so easy to see. The <<rim >> here is morticed into the case. I'm real anxious to get the thing up and running and to see if my reasoning will result in a nice musical sound. I'm looking for a bit more clarity and sustain in the treble area while leaving the bass sound alone. The origional panel will be restored and framed for viewing purposes and to provide a historical record of the origional panel and scale. Nothing else about the instrument will be changed. Any and all comments on the whole thing are more then welcome.. either on the list or privatly. One other thing.... Terry has been fantastic the whole way. In no small part the end result is a joint effort. We had long exchanges about what the <<cutoff>> bar really was, how to handle rib tapering if we were to change anything about this... how much crown to attempt to put into the laminated assembly... etc etc. And his workmanship is exemplary. I cant thank him enough ! Cheers RicB Thought some of you folks might get a kick out of a picture of my latest project - building a complete (ribbed) soundboard for a very old (1850s or 60s?) Bluthner grand. Richard Brekne, over in Norway, is rebuilding the piano and asked me to build the soundboard for him. I believe he inidicated that the piano is from the first year of Bluthner's production. I believe the piano is owned by a University, and there was quite a bit of interest in maintaining the original design of the belly. The piano was reportedly lacking in the upper treble and there was a wish to do something to try and make the treble a bit more prominent for more even tone, yet keep the appearence original. Our solution was to build a 3-ply laminated panel with a tapered inner ply. During glue-up we pressed the panel into a caul (of sorts) - especially in the high treble - to build some crown into the panel itself. As you can see in the picture, there is no effective kind of support for the panel in the upper treble. As far as the structural aspects of building the soundboard go, we seem to have reached all our goals successfully. I'm about to ship the soundboard across the big pond and time will tell how musically successful our efforts have been after Richard finishes the project. Our soundboard is pictured below. I've got tons more pictures and info if any of you are interested - email me. Terry Farrel
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