Roger said: "Chuck, I?m stepping out of my comfort zone to respond to your post ? a post that may mislead new technicians who may be inclined to venture down the paths of restoring 100 year old pianos. By simply filling the cracks with shims and performing a static gluing of the panels to the ribs, your chances of restoring a 100 year old soundboard to it?s original impedance character are little to none.Your comment about a 1000% more ?vibrant? is misleading. The stopgap repair certainly restored unity to the soundboard, but after that, a piano with that much deterioration would have little to no tension remaining within its composite structure. It defies the physics within the soundboard to believe that a massive gluing of that nature restores any rib-to-panel tension; tension that is necessary to the characteristics we associate with good piano tone. When I was young and felt I knew everything about the make-up of the piano I ventured into a massive static soundboard re-gluing job where every rib along 75% of its length was detached from the panels. The end result was a disaster. It was like listening to a ballpein hammer striking against a cast iron frying pan ? all attack and no decay. I would urge technicians to seriously weigh the restoration investment to the end result before engaging in such a massive reconditioning. A good new upright piano can be had for $6,000 to $7,000, and it would have a new bridge, a new pinblock with 2/0 tuning pins, and an entirely new action, plus much more. Is it worth our reputation to encourage our clients to invest in a 100 year old piano with that level of restoration liability?" Roger, I completely disagree with you! Just because your venture into this arena was a disasster, does not mean that this kind of work is folly! I have done many such jobs, that continue to give more than stellar performance after my "heroics" in similar situations. Although there are some aspects of Chuck's soundboard "rejuvenation" that I would not do or condone, the work was done with good craftsmanship for the most part. I strongly urge all to not use "Gorilla" glue on any repair such as this. It is a weak glue and inappropriate for this work, imo. Secondly, I would not Shellac a board. Although there are those who think that was the finish of the time, it was not! It was Varnish. As to wether or not his project will provide a resonant musical instrument or not, is yet to be seen/heard. There was one step that I would have added to the process: wedge the board into an exaggerated "crown" before the drying process and shimming. Del's article on the use of water thin epoxy in adding stiffness will most certainly give you a highly vibrant soundboard. I have three such, done that would blow the doors off of any of these so called .."good new upright piano can be had for $6,000 to $7,000, and it would have a new bridge, a new pinblock with 2/0 tuning pins, and an entirely new action, plus much more.", piano shaped objects that you speak of. (most are major PSO's and POS imo.) Then, there is the aesthetic beauty of this sort of piano that is not available, for any price. That in/of itself is justification for such a project. (Unless you like polyester, high gloss, butt ugly moden pianos!) I personally, would encourage any new tech to learn these rejuvenation techniques and use them to their full value. Respectfully, Joe Joe Garrett, R.P.T. Captain of the Tool Police Squares R I
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