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<DIV><FONT face=Arial color=#0000ff size=2><EM><STRONG>Thank you Nick for a well
thought out Post.</STRONG></EM></FONT></DIV>
<DIV><FONT face=Arial color=#0000ff
size=2><EM><STRONG></STRONG></EM></FONT> </DIV>
<DIV><FONT face=Arial color=#0000ff size=2><EM><STRONG>I agree with Will (and
many others here) that the panel is the least important feature of the
soundboard assembly. Balancing the rib scale/design against the overall scale
tension and bearing force seems a more practical approach to achieving the
sought after benefits than trying to control the compression. Yes, we
can certainly recycle old panels with an updated design and we may have to
in the years ahead, but processing old boards verse new panels comes
back to the fundamentals (ie removing defects, good joinery,
contolled MC for a given design etc.) and recognizing that wood will always
be wood. There are already a host of alternatives (ie composite and laminated
panels) to be explored and I respectfully submit, that for those whom are
interested, time and resources may be better spent
here.</STRONG></EM></FONT></DIV>
<DIV><FONT face=Arial color=#0000ff
size=2><EM><STRONG> </STRONG></EM></FONT></DIV>
<DIV><FONT face=Arial color=#0000ff size=2><EM><STRONG>Jude Reveley,
RPT<BR>Absolute Piano Restoration, LLC<BR>Lowell, Massachusetts<BR>(978)
323-4545</STRONG></EM></FONT></DIV><FONT face=Arial size=2> <BR> While the
strength of a soundboard comes as a system - the<BR>> strength comes from the
ribs, the panel, and the bridges acting together; it<BR>> is fair to say that
the panel is the lesser of these components and the ribs<BR>> by far the
greater. If you have held an unribbed panel in your hands it is<BR>>
pretty flimsy at that stage. So I think whatever extra strength your
old,<BR>> compressed panel might have is of relatively little importance -
practically<BR>> speaking. <BR>> <BR>> Will
Truitt<BR></FONT></BODY></HTML>