<!doctype html public "-//w3c//dtd html 4.0 transitional//en"> <html>   Ron Overs wrote: <blockquote TYPE=CITE><style type="text/css"></style> <blockquote type="cite" cite>    I thought that tongue and groove might be a good idea long before I heard about it here. Lately I've been day dreaming about finger joints. Any feelings on how that might work in a soundboard situation? It seems that a finger joint would offer more surface area than a tongue and groove.</blockquote>  Finger joints are fine, but there's no real benefit in having such a strong joint since we are only dealing with spruce. The real benefit of the tongue and groove is the improved alignment of the boards when gluing up the panel - which allows for the boards to be sawn closer to the finished size. The smaller the tongue and groove the better, since less wood will be wasted when machining the joining surfaces. The total loss for each joint will be double the tongue size.  Will not strength in the joint help to prevent future problems with separated glue joints? I live in an area where the humidity swings can be great from summer to winter. It seems like this might be an important thing to consider, no? What thickness stock do you start with when glueing up panels? How are you planing down to the finished thickness? are you tapering the board?   <blockquote type="cite" cite> Call me a ponderer.</blockquote>  Some of us ponder, then some of those carry through that-upon-which they've pondered, then the hind-sight thing sets in. Its a good idea to ponder and plan long and hard before you take the plunge, but not for too long or you'll get put in a box first.  Now Ron, you don't even know me and you figured that out? Man, I must be really transparent or something ;-)    <blockquote type="cite" cite>    I would love to here from you any tips, ideas, or pitfalls to be aware of as I begin to prepare for this job. If you have an idea of a supplier for Sitka or opinions about other woods I would love to hear that too!</blockquote>  Uncle Ron N did a very good job in his post. If you look again at the three gluers image (<A HREF="http://www.overspianos.com.au/3glrs.html">http://www.overspianos.com.au/3glrs.html</A>), you will see that there is a plywood piece cutout to match to inner rim/sound-board-panel contact area (it also has a bass-corner-section to cover the sound board cutoff, and with a special deeper throat clamp made for it). This continuous plywood piece ensures that the clamping pressure is distributed evenly to the sound board panel. This piece is made from an 8' x 4' x 18mm thick plywood sheet with the cutoff back-right corner scarf jointed to the right hand side (to cover the entire board with a single sheet). How practical do you see this to be since i'm not doing production instruments and each one will likely have a different shped rim? This idea came to me directly from uncle Ron N before I glued in no. 003 sound board. We undercut the outer-lower edge around the perimeter to prevent any excess glue-squeeze-out from gluing the former to the sound board. This single piece device allows for clamping up much faster than using individual blocks for each clamp. Regarding solid verses laminated panels, I had intended to build the next two pianos (004 and 005) with one solid and one laminated panel for an A-B comparison. But we're so satisfied with the results of no. 003 that I am beginning to wonder if there is any point in using a solid panel again. The laminated panel has better resistance to checking and it seems to slightly improve tuning stability.  #3 was a laminated panel? Was it a ready made product or did you laminate it yourself? Of what is it made? We're there any difficulties glueing ribs to it? No matter which direction you go you are alway crossgrain top one of the layer right? Any trouble gluing to the rim?     <blockquote type="cite" cite>though I was not fortunate enough to hear your piano this past convention I hope to this time around in Chicago. I certainly respect your opinion and value your input to "the list".</blockquote>  Thanks Greg but I can't see myself getting to Chicago this year unless some miracle happens. My loss! I'll just have to be patient I guess. I am currently designing three new grands, a 185, 230 and a 280 (top elevations can be seen together one behind the other at <A HREF="http://overspianos.com.au/cases.html">http://overspianos.com.au/cases.html</A>). We are building just two more pianos based on the undrilled Samick 225 plate. These pianos will be very similar to no. 003 (the Reno exhibit piano), but with a larger bass corner cut-off. We've had such a big (read expensive) couple of years developing these instruments that I'm going to have sit tight for a bit. However, I am looking forward to returning to the US as soon as we get another serious new product up and running - either the 230 or 280.  What is the purpose for the bass cutoff? Are you hoping to stop an energy loss to an otherwise useless area of the board? what form does the cutoff bar take? Is it both above and below the board? Are there any braces going out to the rim from the cutoff bar?   <blockquote type="cite" cite>    The three gluers thing was cute! How is your efforts going in getting your piano used at the concert hall? Is this a battle with Steinway or the hall?</blockquote>  Recently we had a battle with certain folks in a management capacity who wanted the new Stuart piano to be used for all concerts in a certain chamber music recital series for the Sydney Festival - regardless of the wishes of the pianist. However the pianist (for one of the four concerts) requested our no. 003. Miraculously after some arm twisting we got permission to supply it for David Bollard's Jan 20 concert. At this time, since we only manufacture a 225 cm grand piano, we will be at a natural disadvantage over other makers who have a full concert piano. Regardless of how good or bad our piano may sound, it is visually inferior from a length perspective.  It's not enough to have the best product on the market you have to sell it too! That's the part I hate!!! If I ever got far enough to build a piano I would have to hire out for sales people to do those things for me. I wish you the very best.     <blockquote type="cite" cite>The longer I'm in this business the less respect I seem to have for Steinway. They do some things well but the most successful thing they do is their marketing. well, this is nothing new to serious technicians is it?</blockquote>  Yes they're great marketers but innovation has been almost completely non existent for over a hundred years. This time our problem was not with Steinway (wasn't always thus), but again it was an entrenched manufacturer - in this case very recently entrenched. Best regards, Ron O.--       OVERS PIANOS        Grand Piano Manufacturers _____________________________ Web:    <A HREF="http://www.overspianos.com.au">http://www.overspianos.com.au</A> Email:  <A HREF="mailto:ron@overspianos.com.au">mailto:ron@overspianos.com.au</A> _____________________________</blockquote> Really enjoy your website BTW -- Greg Newell <A HREF="mailto:gnewell@ameritech.net">mailto:gnewell@ameritech.net</A>  </html>