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. <div>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. </div><div>The model 168 he had with him sounded great, and I believe he's introducing a 7' 7" semi-concert grand at NAMM.</div><div>Patrick Draine<br><br><div class="gmail_quote">On Jan 19, 2008 3:37 AM, Richard Brekne < <a href="mailto:ricb@pianostemmer.no">ricb@pianostemmer.no</a>> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;"><br><br>As for CC ridges in boards made in Europe. This is far from a Steinway / <br>Grotrian phenomenon.  I'd say the greater portion of European produced<br>pianos display this kind of thing nearly in every case. Petrof,<br>Schimmel, Steingræber, Seiler...  I've personally talked with their<br> design people and they say outright compression ridges are a sign of a<br>well put together board. All of these and a good deal others also<br>mention figures like 3.5 % EMC before gluing ribs.  Udo Steingærber just<br>told me in Helsinki in October this is necessary for the European <br>climate... and he also told me they make as tight a fit as is humanly<br>possible in gluing their assemblies into the case.  I will be seeing him<br>again before long as well... so I may get a chance to see them doing <br>what they do first hand.<br><br>Cheers<br>RicB</blockquote></div></div>