This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment If I understand rib tapering theory correctly (and maybe I don't - so = please correct me), the straight tapering that Del and Ron O use is = based on engineering principles that suggest such a design will best = support a centered load more-or-less evenly along the length of the rib = (and allow freedom of movement at the ends). Whereas the constant = thickness rib with the sculpted tapers at the ends lends itself better = to a compression-crowned soundboard where the constant thickness of the = rib will tend to induce development of consistent crown as the panel = hydrates (and allow freedom of movement at the ends). I realize there is everything in between also, but isn't that the big = picture? Terry Farrell ----- Original Message -----=20 By the way you sent this thru last week & I didn't have time to say = it was very well described & if one takes time to really anaylisze the = dynamics of this rib design the vibrational effiecncy of this shape rib = seems ... transparent. =20 The way you described it made it crystal clear in my thought = process & I hope others. I catch on quick after a long time! What about using the same approach with a solid rib. The only = difference in our procedure as to shape has been not using as much of a = straight taper at the rib end.=20 Vibrational waves emanating at the bridge & radiating outward is = all s.o.p. thought and this rib design whether it be laminated or not = seems to aid the idea of the soundboards center as the starting point = for vibration & also showing the most movement.=20 Dale ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/86/e5/78/f9/attachment.htm ---------------------- multipart/alternative attachment--
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