<html> <head> <META HTTP-EQUIV="Content-Type" CONTENT="text/html; charset=us-ascii"> <meta name=Generator content="Microsoft Word 10 (filtered)"> <style>  </style> </head> <body lang=EN-US link=blue vlink="#000000"> <div class=Section1> I’ve done them both ways and I’ve not been disappointed with original rib positions.  But it’s hard to compare exactly.  Most of the time I’m increasing the bridge height in the capo by at least 3-4 mms, sometimes more.  I don’t know how our rib scales would compare either.  Grain angles are also changed which stiffens the treble as well.  There are two S&S O’s that come to mind that I’ve done with Del a few years ago as I wanted a comparison.  One has all the bells and whistles, a full blown, turbo charged (actually that’s how the customer refers to it) Del Fandrich design: fish, bass float, full cut-off, transition bridge, modified bass bridge, vertical hitches.  It’s a great sounding piano.  The other one is also a Fandrich design with original rib positions, full cut-off, transition bridge, new bass bridge, treble cut-off.  It’s also a great sounding piano.  They’re a bit different—then again they have different hammers on them which is another story—but I don’t think the original rib position piano suffers.  The bass on the one with the bass float is a bit stronger on fundamental and very clear in the low bass and there are some other subtle differences.  But both came out fine.  Maybe the full bells and whistles piano is a bit more refined, but the differences are subtle.  As I said, sometimes customer budget dictates choices but you can get a very good result both ways.  Given my druthers, I’d rather go all the way with these but sometimes it’s not practical.    <div> David Love davidlovepianos@comcast.net www.davidlovepianos.com </div> -----Original Message----- From: pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org] On Behalf Of erwinspiano@aol.com Sent: Sunday, May 18, 2008 12:58 PM To: pianotech@ptg.org Subject: Re: Steinway O revisited      David   My frustration is that when I don'<a href="" title="Click here to replace with: 
T, Ft, St, at, ct, et, ft" id=sp-0>t</a> change to more ribs in the trebles I often fight the same voicing issues that were in the original design.     I'<a href="" title="Click here to replace with: 
Ave, ave, vet, vex, vie, v, e" id=sp-1>ve</a> come to the conclusion that the top two capo sections on most Steinways & other need at least six ribs for stiffness & sustain support. Usually there are only 5. Well at least I like the sustain evenness of voicing & lack of weakness/soundboard resonance's better.   I don'<a href="" title="Click here to replace with: 
T, Ft, St, at, ct, et, ft" id=sp-2>t</a> think it makes as much difference when sticking to the original number of ribs  in the bottom of the piano but adding ribs & fanning them under the bridge is in my highly subjective opinion something I will continue to do. A high- <a href="" title="Click here to replace with: 
bride, braid, bid, rid, bird, boride, braids" id=sp-3>brid</a> idea would to retain the bottom no of ribs & there original locations & then fill in more ribs that lie on the belly rail. Fanned or un fanned there will be an improvement.  The other plus is that there aren'<a href="" title="Click here to replace with: 
T, Ft, St, at, ct, et, ft" id=sp-4>t</a> as many new notches to cut.   The first Steinway O I did a few years back with a fanned array was an amazing success. I added a shorter cut-off than yours &  I believe I only added one rib & it was under the usual trouble note 64 area. Convenient aye? Gorgeous sound.    Let us know how it turns out....or just for fun....... invite us all over & have a concert party. I'll bring the drinks.   Viva la choice   Dale <div id="AOLMsgPart_2_eb7599e1-9e3b-45c6-b9c5-7b3e647e1590"> <div> <div> I’<a href="" title="Click here to replace with: 
Ave, ave, vet, vex, vie, v, e" id=sp-5>ve</a> done them both ways (fanned and original rib positions without significant compression) and haven’<a href="" title="Click here to replace with: 
T, Ft, St, at, ct, et, ft" id=sp-6>t</a> found a huge difference.  Fanning the ribs seems to reduce resonance's some (though it doesn'<a href="" title="Click here to replace with: 
T, Ft, St, at, ct, et, ft" id=sp-7>t</a> seem to eliminate them entirely), it also allows you to float the bass (which I didn'<a href="" title="Click here to replace with: 
T, Ft, St, at, ct, et, ft" id=sp-8>t</a>’<a href="" title="Click here to replace with: 
T, Ft, St, at, ct, et, ft" id=sp-9>t</a> do on this project).  The panel was ribbed at 6% (30%RH @ 85 degrees <a href="" title="Click here to replace with: 
FA, FL, FM, Fe, Ft, bf, fa" id=sp-10>F</a>) so it does have just a bit of compression.   On some projects, you have to make choices.  </div> <div>   </div> <div> <div> David Love <a href="mailto:davidlovepianos@comcast.net">davidlovepianos@comcast.net</a> <a href="http://www.davidlovepianos.com/" target="_blank">www.davidlovepianos.com</a> </div> </div> <div style='margin-left:.5in'> -----Original Message----- From: <a href="mailto:pianotech-bounces@ptg.org">pianotech-bounces@ptg.org</a> [<a href="mailto:pianotech-bounces@ptg.org?"></a><a href="" title="Click here to replace with: 
mail to, Milton, mail, malt, milt, Milo, maillot" id=sp-11>mailto</a>:pianotech-bounces@ptg.org] On Behalf Of <a href="mailto:erwinspiano@aol.com">erwinspiano@aol.com</a> Sent: Saturday, May 17, 2008 7:20 PM To: <a href="mailto:pianotech@ptg.org">pianotech@ptg.org</a> Subject: Re: Steinway O revisited </div> <div style='margin-left:.5in'>   </div> <div style='margin-left:.5in'>   David     Since the original rib scale was originally designed to work in conjunction with panel compression stiffness are you concerned  about any potential unwanted soundboard resonance's by retaining the original rib scale placement & same no. of ribs even though they are beefed up to support the entire crown load?    Dale </div> <div id="AOLMsgPart_0_e99e4a05-a9ed-4259-af11-d6008bc55e94"><pre style='margin-left:1.0in;background:white'><tt> </tt></pre><pre style='margin-left:1.0in;background:white'><tt>-----Original Message-----</tt></pre><pre style='margin-left:1.0in;background:white'><tt>From: <a href="mailto:pianotech-bounces@ptg.org">pianotech-bounces@ptg.org</a> [<a href="mailto:pianotech-bounces@ptg.org?"></a><a href="" title="Click here to replace with: 
mail to, Milton, mail, malt, milt, Milo, maillot" id=sp-12>mailto</a>:pianotech-bounces@ptg.org] On Behalf</tt></pre><pre style='margin-left:1.0in;background:white'><tt>Of David Love</tt></pre><pre style='margin-left:1.0in;background:white'><tt>Sent: Saturday, May 17, 2008 11:16 AM</tt></pre><pre style='margin-left:1.0in;background:white'><tt>To: 'Pianotech List'</tt></pre><pre style='margin-left:1.0in;background:white'><tt>Subject: Steinway O revisited</tt></pre><pre style='margin-left:1.0in;background:white'><tt> </tt></pre><pre style='margin-left:1.0in;background:white'><tt>Here's a Steinway O with modifications: transition bridge (old style</tt></pre><pre style='margin-left:1.0in;background:white'><tt>connection), cut-off, modified bass bridge sans cantilever, adjustable plate</tt></pre><pre style='margin-left:1.0in;background:white'><tt>mounting system.  Vertical hitches in the plate in the treble section (not</tt></pre><pre style='margin-left:1.0in;background:white'><tt>pictured).  Plate goes in today.    </tt></pre><pre style='margin-left:1.0in;background:white'><tt> </tt></pre><pre style='margin-left:1.0in;background:white'><tt>David Love </tt></pre><pre style='margin-left:1.0in;background:white'><tt> </tt></pre></div> <div id=u8CA86A4D8F92420-A90-1360> <div style='margin-left:.5in'> <div class=MsoNormal align=center style='margin-left:.5in;text-align:center'> <hr size=2 width="100%" align=center> </div> </div> <div style='margin-left:.5in'> Plan your next <a href="" title="Click here to replace with: 
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