<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=Content-Type content="text/html; charset=US-ASCII"> <META content="MSHTML 6.00.2900.2604" name=GENERATOR></HEAD> <BODY id=role_body style="FONT-SIZE: 10pt; COLOR: #000000; FONT-FAMILY: = Arial" bottomMargin=7 leftMargin=7 topMargin=7 rightMargin=7><FONT id=rol= e_document face=Arial color=#000000 size=2> <DIV> David wrote</DIV> <BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><= FONT style="BACKGROUND-COLOR: transparent" face=Arial color=#000000 size= =2>I think there are those who when put to a rebuilding request by a<BR>customer need= to try and recreate a "Steinway sound" but might wish to<BR>employ what has b= een represented as a more reliable method than CC.  But<BR>if the RC&= S method produces its own unique characteristics and is, as<BR>you say, something which certainly didn't sound like a Steinway, then it<BR>would b= e good to know whether those differences are inherent in the<BR>differences between the two methods or simply a matter of customizing a<BR>particular design.</FONT></BLOCKQUOTE> <DIV> Hi Dave</DIV> <DIV> <FONT size=3> >> I've been following this thread in my po= st convention fatigue.</FONT></DIV> <DIV><FONT size=3>   I'd like to speak to this. I build rib crow= ned boards with some panel compression support as well. These typically hav= e slightly taller ribs & less wide than the original.</FONT></DIV> <DIV><FONT size=3>  I also have some compression in the panel. I typi= cally dry to no less than 5.5% emc & no more than 6%. </FONT></DIV> <DIV><FONT size=3>  I like this range for the results I'm getting &am= p; regional climate conditions. It's not excessive by any means . I believe for= my ears I like the sounds of designs that retain some compression. I = Use sitka spruce panels, <U>which Steinway does</U> & some diaphramizing <U>which they also do</U>. The panels are <U>similar in thickness</U> but on= the thinner side. I press in a dished caul <U>as they do</U>. I use the <U>= same </U><EM>scales</EM> with minor alterations. & Yes I like the tri-ch= ord sound in Ds. </FONT></DIV> <DIV><FONT size=3>   I use primarily white Spruce ribs on the bo= ttom and sometimes some Sitka in the top treble(s) ie. Bs & Ds. Which they Do= n't.  I no longer use sugar pine except in some instances or in smaller pian= os. <STRONG>Which they still do in</STRONG> <STRONG>ALL models.</STRONG> I can h= ear the difference between a board ribbed with sugar pine & one with spruce.</FONT></DIV> <DIV><FONT size=3>  I market what I call a "variable radius soundboar= d" crown which means the ribs are cut with increasingly steeper radius goi= ng into the treble & many folks  on this list & off do this</FONT>= . <FONT size=3>Most of this is not news & many use this.</FONT></DIV> <DIV><FONT size=3>  My point is that all our bellied  piano= s sound to me like some of the best Steinways </FONT><FONT size=3>&nbsp= ;I've heard even though they are built in this non traditional way. I have fewer Killer octave problems & better balance of registers or as good as the v= ery best C.C. design at least . This point is the same as what others are saying= ,The methods are most reliable & predictable.</FONT></DIV> <DIV><FONT size=3>  <STRONG>My point is,finally.</STRONG> To me These= pianos aren't some derivation of the Steinway sound but the <U>best qualities of the Steinway sound</U>. Great sustain,even thru the breaks &amp= ; treble areas, rich tone color, & power which isn't driven to distortion & FFF levels. </FONT></DIV> <DIV><FONT size=3>  I have no problem or difficulty selling my client= s on these modern features. When they hear it they get it. NO client has ever sai= d no I don't want you to do that & none ever said it didn't sound like a Steinway.</FONT></DIV> <DIV><FONT size=3> Ask any one who heard My D (at the PTG Cal State) = last weekend if they heard a Steinway Sound. Or the Concert artist who performed Gershwin ,who stopped before the finale of Rhapsody in blue To State what an= Amazing piano this was & because of it he was performing his uncut versi= on. It was a great experience for me personally & I was gratified to ha= ve many enthusiastic words of support from some other rebuilders, Technicians &= amp; friends.</FONT></DIV> <DIV><FONT size=3>    I thank them all with mutual respect & support</FONT></DIV> <DIV><FONT size=3>   Dale Erwin   </FONT></DIV> <BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><= FONT style="BACKGROUND-COLOR: transparent" face=Arial color=#000000 size= =2>  I think Sarah pointed out what might be some<BR>considerations in those differences.  I can't address those issues with<BR>any real knowledge= as I am not an engineer and lack adequate experience.<BR>But I can hear differences between different types of pianos and I am<BR>interested in exploring the topic further even if it is only in a<BR>speculative manner.  <BR><BR>David Love<BR>davidlovepianos@comcast.net </FONT></BLOCKQUOTE> <DIV></DIV> <DIV> </DIV> <DIV> </DIV> <DIV><FONT lang=0 face=Arial size=2 FAMILY="SANSSERIF" PTSIZE="10"= >Erwins Pianos Restorations <BR>4721 Parker Rd.<BR>Modesto, Ca 95357<BR>209-577-8397<BR>Reb= uilt Steinway , Mason &Hamlin Sales<BR>www.Erwinspiano.com</FONT></DIV></FONT></BODY></HTML>