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<DIV> <STRONG> Hi Dave</STRONG></DIV>
<DIV><STRONG> Well I tend to be an experiential type human & I know=
only that when I hear something I like I expore it.</STRONG></DI=
V>
<DIV> </DIV>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><=
FONT
style="BACKGROUND-COLOR: transparent" face=Arial color=#000000>What =
I find
interesting about what you've written below is that I see<BR>you (over the=
last couple of years) moving incrementally toward, for all<BR>practical
purposes and based on what I've read on the list, a rib<BR>crowned and
supported board. While you are still drying the panel down<BR>to 5.5=
%
rather than the 6.5% that some of the RC&S people are doing,
the<BR>taller, rather than wider, more ribs, fanned perpendicular to
the<BR>bridge, cut-off bars, treble fish, is what I see in the RC&S
designs.</FONT></BLOCKQUOTE>
<DIV><STRONG> > Well since I can't get close enough to any body
elses redesigns to hear them I have incrementally decided to expereime=
nt
in that direction. So I need to do my own & make up my own mind. I'm a b=
it
nervous about the outcome as it's a huge financial risk & my yes , it is=
my
piano. I have been thinkng about the Killer octave problems & I surmise =
by
conjecture & intimation from other that what the remedy is is more suppo=
rt.
so The Long A design is my solution , hopefully. I may be dismally
disappointed.</STRONG></DIV>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><=
FONT
style="BACKGROUND-COLOR: transparent" face=Arial color=#000000><BR>H=
aving
heard your boards and having heard others report on what they<BR>hear, it
would seem, at least on the surface, that rib versus<BR>compression crowni=
ng
is not a significant element in convincing people<BR>about the authenticit=
y of
what they are hearing. </FONT></BLOCKQUOTE>
<DIV> ><STRONG> Do you mean the sound speaks for it self regardless=
of
the means to get there? Then I'd agree.</STRONG></DIV>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><=
FONT
style="BACKGROUND-COLOR: transparent" face=Arial color=#000000>Rathe=
r, it
would<BR>appear, it is some other confluence of factors: panel
thickness,<BR>shaping, grain angle, overall rib design and level of suppor=
t,
control<BR>of moisture content; etc., the usual stuff. Since those w=
ho
have heard<BR>your pianos were not struck by anything unusual in their ton=
al
output,</FONT></BLOCKQUOTE>
<DIV><STRONG> You mean other than they really like them?</STRONG></DIV>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><=
FONT
style="BACKGROUND-COLOR: transparent" face=Arial color=#000000><BR>w=
ould you
then go so far as to say that RC&S, CC, RC&CC probably doesn't<BR>=
much
matter? </FONT></BLOCKQUOTE>
<DIV> <STRONG>No I wouldn't. I.E.I've already stated my tonal preferen=
ce
for my Boards with white spruce ribs Subjective though it may be I've heard
enough of them to know & all compreesion boards are made with sugar pine=
of
which I've used in the past as well. Also with good results but the white gi=
ves
the sound more clarity. JMHO.</STRONG></DIV>
<DIV><STRONG> I my find that all the usual stuff ,as you s=
ay,
that I do in my usual protocol may indeed prove to be a better formula for m=
e
since it's producing a good outcome & is a known quaantity.</STRONG></DI=
V>
<DIV><STRONG> I'm always one to but the better mouse trap =
, so
I'll see, & I will report back with candor & honesty.... After the p=
iano
is sold...grin</STRONG></DIV>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><=
FONT
style="BACKGROUND-COLOR: transparent" face=Arial color=#000000>At le=
ast in the
short term? How each might hold up in the<BR>long term and the
consistency with which each can be produced, and,<BR>moreover, the choices=
one
makes about their own design elements might<BR>yet be another matter. =
;
But from what is written below, it sounds as if<BR>tonally, you are leanin=
g
toward what many of the RC&S designers are<BR>advocating. Do I r=
ead
that correctly?</FONT></BLOCKQUOTE>
<DIV><STRONG> Well all I know is that in many of the ol=
der
designs I hear the most sustain & musical life in are from these ol=
d
boards. You explain it to me please. Yes, They were probably compressi=
on
crowned. I don't know if the ribs were crowned except perhaps a
little on the Ludwig. I haven't even checked the crown. But I will & rep=
ort
after I take the strings off. Fair enough.</STRONG></DIV>
<DIV><STRONG> I do think that in any case the number of taller r=
ibs
gives more stiffness to the crown support. & even when a board like thos=
e
mentioned has only little crown left they stil have amazing tonal properties=
.
I'm just trying to observe these design when they strike me as excellent&nbs=
p;
sounding & then try to find a reason. Simply with more ribs in the syste=
m
adds more weight& stiffness & thus more mechanical impedance.
</STRONG></DIV>
<DIV><STRONG> In the Ludwig I don't find any weak notes. This piano is=
100
years old. Original strings. So all the concerns with longevity
considering even slight design improvements is almost a mute &
funny point to me. I know my boards won't cave in even in 75 yrs s=
o
for me<U> Its about the sound... Yes! If these other designs give me</=
U>
even more of what I want then.................</STRONG></DIV>
<DIV><STRONG> Regards & Wecome back from the Mountains
Dave</STRONG></DIV>
<DIV><STRONG> Dale</STRONG></DIV>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><=
FONT
style="BACKGROUND-COLOR: transparent" face=Arial color=#000000><BR><=
BR>David
Love<BR>davidlovepianos@comcast.net <BR></FONT></BLOCKQUOTE>
<DIV></DIV>
<DIV> </DIV></FONT></BODY></HTML>