<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META content="text/html; charset=iso-8859-1" = http-equiv=Content-Type> <META content="MSHTML 5.00.2919.6307" name=GENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=#ffffff> <DIV><FONT face=Arial size=2>Hi Jim<BR>     </FONT></DIV> <DIV><FONT face=Arial size=2>  The first half incomplete = message was sent  via computeer glitch. I HATE MSN!!! </FONT></DIV> <DIV><FONT face=Arial size=2><BR>      = "Seriously I come up against this notion everyday that they the board<BR>is perfect = because it  isn't cracked."<BR><BR>  Actually I must take credit for = that quote and will take perhaps a<BR>different shot at your three = questions.  Ron Ns response to this was where<BR>the reality check should begin for = us when estimating or appraising pianos<BR>in this condition,and I couldn't = agree more with his responses.<BR><BR>1). "Describe what  aural result  = you want out of a soundboard regardless of<BR>geometric shape"<BR>   I = believe all rebuilders,techs. and pianists are sustain oriented.<BR>Sustain = freaks!) Sustain is my primary indicator of a free and happy board.<BR>A piano = thus described has a  luscious magic quality to it that = engenders<BR>creativity and enhances musical interpretation.  It just makes you play = things<BR>in a way just didn't think was possible.  We all have these in our clientele.<BR>The tone is colorful and interesting.  The attack is = not abrupt or harsh but<BR>it still has a strung present sound and a good = over tone structure,  and great balance of all these essential qualities from = bass to treble.  There is that subjective enough !!!!</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial = size=2>2.        When you use the term " flat board " in what context is it used ,Loaded or unloaded?<BR></FONT></DIV> <DIV><FONT face=Arial size=2>   It could be either. Using = the Kansas straightedge on the bottom of a board while strung often reveals the = same thing when  unstrung  and it is very difficult to try to determine = residual bearing before it's unstrung with a  Lowell type bubble gauge, = because the slope of the bridge and the loss of bridge elevation due to crown loss = makes it a guess as to if there's any bearing at all .  The really Important = thing to remember is that almost all these old boards were compression = crowned. With wood shrinkage and time  the most significant amounts of that = crown are pegging on empty In the year 2001.  Most of these flat boards = have LOST the essential dynamic potential that made them efficient transducers/ = amplifiers of tone in the first place. The reality is that in our lifetimes more = and more instruments are just tragically dead, and that the worth while ones will = need to have sound board transplants. That's the reality.  The other = reality is budgets, cash and soundness of the investment unless it's just for = sentimental reasons. The other fact is that 90% of most rebuilders income is the = Steinway market and most all of those are worth the expense.  The other 10% = being Masons ,Baldwin and assorted others preferably those with lam. maple = rims and inherent design integrity to start with.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>3.)   Would a flat board = which provided all the aural requirements in no. 1 above, be rejected for use? (" = reuse") emphasis mine.</FONT></DIV> <DIV><FONT face=Arial size=2>     I think Ron = answered that well.  I agree with Ron N that the flat board I would trust if I = had to would be the one with adequate and uniformly set residual bearing. I = have strung cases  like this that were sounding amazingly good even during the = driest part of the year. BUT I don't like to because it's always iffy as to the = long term result. IF our pianos which are purchased for spec' and = subsequent resale  have boards in this condition they're changed as fast as I = can rip them out of the case. Its  an issue of longevity and business integrity.   Frankly this is a judgment call based on many things = but one thing that I always stress to the customer are these = very factors that were hashing out right here. It's only fair that they have all there = options set squarely before them at the outset and before the contract is = signed.  The way it's done in my shop is that we reserve the right to change the = board if upon teardown it becomes clear that it is truly needed. Thanks to = willis and Dave Snyder for that advice. A side note .  If a tech. sends a = client to a rebuilder such as me or  one of my colleagues isn't it = reassuring to (you ) them that there going to get a Steinway with a fresh board = because the piano shop doesn't compromise?</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>   Ho</FONT><FONT = face=Arial size=2>pe that helps</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2> Dale = Erwin</DIV></FONT></BODY></HTML>