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<DIV> <FONT size=3><STRONG> Ric</STRONG></FONT></DIV>
<DIV><FONT size=3><STRONG> My first post was incomplete please=
see other. Interesting post. were the boards in or out of the piano/ I pres=
umne in? If in then how did the accomplish thinning?</STRONG></FONT></DIV>
<DIV><FONT size=3><STRONG> Thanks--Dale</STRONG></FONT></DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue =
2px solid"><FONT face=Arial>Apprapoe freeing up the edges of the board Dal=
e,<BR><BR>One of the segements of Steingrębers lecture in Helsinki this pa=
st<BR>weekend was about this. He showed a few pictures of how they go about<=
BR>this at their factory and breifly discussed some of the goals in their<BR=
>proceedure. <BR><BR>They spread dark sand on the panel and then pound a bit=
on the bridge to<BR>see where the sand settles. They remove material from t=
he soundboard<BR>until the sand accumulates in a very clearly defined thin b=
oarder line<BR>about the edges of the entire soundboard. They are particular=
ily<BR>concerned with the K point area which corresponds to the area in the<=
BR>treble where the so called killer octave phenomena occurs. But all<BR>aro=
und the edge of the soundboard they want a precisely defined line of<BR>sand=
. <BR><BR>Tho he didnt mention it, the pictures also revealed an accumulatio=
n of a<BR>line of sand just at the leading edge of the bridge as well. I did=
nt get<BR>a chance to ask him if that was done on purpose or not.<BR><BR>Che=
ers<BR>RicB</FONT></BLOCKQUOTE></DIV>
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