Soundboard drydown for installation

[Richard Brekne]

Hi Patrick

Sounds like the Udo I know alright. Very deeply committed to the CC 
board. And yes his pianos are very nice sounding indeed. His small 
grands are especially impressive sounding for their size.  Did you get a 
chance to hear anything about the Phoenix grand he is collaborating work 
on ?

The thing is that here is yet another variation on the theme.  Udo puts 
the long bridge on the board before ribbing.... and suggests (I suppose 
he has some data to back this up) that compression ridges are less 
likely to occur when doing this all else being equal.  Hamburg ribs 
first using curved ribs and much higher EMC..... and turn around and dry 
the soundboard to a lower EMC then when ribbed in order to attach the 
bridge. The bridge is also in the hotbox if I remember right.... but I 
will check.

Soo.... leaving aside all the rhetoric about universal truths.... what 
is the reasoning behind these two different approaches... what are they 
trying to accomplish ? 

Cheers
RicB


    Udo Steingraeber gave a presentation at a Boston PTG gathering this past
    Tuesday evening (n his way to NAMM in Anaheim). An engaging speaker, and
    obviously deeply steeped in generations of his family's technical
    traditions.Udo told us his soundboards are brought down to 4% EMC before
    assembly. While the ribs are straight when glued on, Mr. Steingraeber
    emphasized that the long bridge is attached to the soundboard BEFORE the
    ribbing assembly, and that the bottom of the long bridge is concave,
    resulting in a Bridge Crowned Soundboard before the Compression Crown is
    introduced by the ribs. He indicated compression ridges are more
    likely if
    the crown isn't first set by his method of attaching the pre-crowned
    long
    bridge.
    The model 168 he had with him sounded great, and I believe he's
    introducing
    a 7' 7" semi-concert grand at NAMM.
    Patrick Draine