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<DIV><SPAN class=281091316-18012005><FONT face=Arial color=#0000ff =
size=2>Good
points Stephane. I would not keep every board I meet, =
either. Same
for redheads.</FONT></SPAN></DIV>
<DIV> </DIV>
<P><FONT face=Arial><FONT size=2><SPAN
class=281091316-18012005>D.L.</SPAN> Bullock <SPAN
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href="http://www.pianoworld.us">www.pianoworld.us</A> =
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<DIV><FONT face=Arial color=#0000ff size=2>
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<BLOCKQUOTE dir=ltr style="MARGIN-RIGHT: 0px">
<DIV class=OutlookMessageHeader dir=ltr align=left><FONT =
face=Tahoma
size=2>-----Original Message-----<BR><B>From:</B> Stéphane Collin
[mailto:collin.s@skynet.be]<BR><B>Sent:</B> Tuesday, January 18, 2005 =
8:01
AM<BR><B>To:</B> Pianotech<BR><B>Subject:</B> Re:
soundboards<BR><BR></FONT></DIV>
<DIV><FONT face=Arial size=2>Hi all.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>The main stream of technically =
oriented thinking
about piano soundboard is, I believe, that it works as a transducer to =
transform the energy put into the string by the hammer =
stroke into
acoustic energy percieved as sound.</FONT></DIV>
<DIV><FONT face=Arial size=2>The easy way to appreciate a =
soundboard in this
regard is to say :" the better it does it's job, that is transform =
that energy
with as less possible loss and deformation, the better the soundboard =
".
This is easy because there are simple easily observable and =
controllable
parameters that tell you you are right in this regard : volume, =
sustain
and evenness across the scale.</FONT></DIV>
<DIV><FONT face=Arial size=2>It is easy to observe that this piano =
has the
ability to produce sounds of more volume than that one, notes that =
sound
longer, and characteristics that change in a more smooth way over =
the
scale.</FONT></DIV>
<DIV><FONT face=Arial size=2>It is less easy, but feasable to =
control and
apply desing parameters who will obviously tend to reach the goal of
maximizing those three aesthetic parameters.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>While I am full of admiration for =
those who are
dedicated to this research (I know, this may not be obvious in my =
posts, but
believe me, I really am : it is just that I must advocate the other =
way of
thinking), I just can't hide my feeling, that this is an =
oversimplified way to
think about the matter.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>A soundboard is a filter (even a =
resonant
one). No way all the energy of the string will ever end up in =
acoustic
energy, nor will the ineluctable losses ever be even through the =
scale.
And that is great. A soundboard has a personality that comes =
from what
one would describe as defects in regard of the basis parameters. =
I would
describe the personality of a board as the unique blend it features =
between
many more parameters, such as subtle and aesthetically more or less
interesting discrepencies curves in volume, sustain and evenness =
across the
scale of each of the partials of each note, their thump, and the =
resonances in
release phase.</FONT></DIV>
<DIV><FONT face=Arial size=2>Unfortunately (ah, maybe not), this =
is much less
easy to have under control, and leads us to humility in front of the =
miracle
of nature, as there exist some blends that make you believe in god, =
while
others, euh, not really.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>This being said, my opinion about old =
soundboards
is that they have gathered with time (cell crush, down in resine =
percentage,
loss of elasticity, whatever) a stronger and more unique personality, =
as
defined here. The whole life of a soundboard contributes to it's =
unique
sound. This doesn't mean that all personalities please me. =
But the
personalities who do are not at all the most powerful and =
long
lasting and most even across scale of every parameter =
ones.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Time for another idea that =
I would
like to read reactions about. About those old violins who =
sound
better, I think it is an optical illusion. After all, a violin is =
cheap to
make, compared with a piano. So, when it is time for a violin to =
be
restored, exactly like pianos, the question arises whether it is worth =
the
restoration, as everybody knows that for a cheap instrument, the =
restoration
costs are sometimes superior to the cost of a new similar one. =
So,
logically, the Strads that we still see now are the ones who were from =
the
beginning considered as good instruments : good enough to be worth =
restoring
and restoring again. Time has made the selection, like the =
instruments
of Guarnieri or Amati. Be sure those who still exist represent a =
small
percentage of the best instruments of the best makers. Be sure =
the same
makers have made instruments that were not considered, in their time, =
worth to
be restored when needed, and that is why they =
disappeared.</FONT></DIV>
<DIV><FONT face=Arial size=2>Same for old boards, in my =
opinion. When I
hear an old piano in need of restoration, I always take the time to =
tune it,
and I can then hear, even with worn hammers, loss of crown etc. =
if the
board has a personality (that is, thus, a blend of so called defects) =
that
makes me want to give it it's chance to appear in full monthy. =
If I
don't feel it has potential, I don't buy it.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Newer boards may or may not have
personality. In my world, they are like 1m75 blondes with B2 =
breasts and
sinusoidal shape at hips with 65 kg weight and red lipstick. Why =
do I
prefer redheads with the nose slightly bent to the left a tiny bit =
overweight
and with intelligence in the look ?</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Friendly greetings,</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Stéphane Collin.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV> </DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV> </DIV>
<DIV>----- Original Message ----- </DIV>
<BLOCKQUOTE dir=ltr
style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>
<A title=performancemusic@cableone.net
href="mailto:performancemusic@cableone.net">Performance Music</A> =
</DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A =
title=pianotech@ptg.org
href="mailto:pianotech@ptg.org">Piano-Tech</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Monday, January 17, =
2005 7:52
PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> soundboards</DIV>
<DIV><BR></DIV>
<DIV>
<DIV>List,</DIV>
<DIV> I would like to start a thread about
soundboards. </DIV>
<DIV> </DIV>
<DIV> Many technicians replace soundboards, when =
the
soundboard is 'dead'. Is it because the wood is 'dead' =
and will
no longer amplify the sound, or is it because of other factors such =
as
the board losing its crown, etc? </DIV>
<DIV><FONT face=Arial
size=2></FONT> </DIV></DIV></BLOCKQUOTE></BLOCKQUOTE></BODY></HTML=
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