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<DIV><FONT face=Arial>Gordon wrote:</FONT></DIV>
<DIV><FONT face=Arial></FONT> </DIV>
<DIV><FONT face=Arial>"What better explanation could there possibly =
be<BR>for
this contrast than that hard woods transmit<BR>runaway vibrations back =
to the
board for further<BR>expression as audible sound, AKA the
much-maligned<BR>"Circle of Sound" ? </FONT></DIV>
<DIV><FONT face=Arial> <BR>Absolutely! I agree completely. And =
the proof is
in the fact that the case material is the one and only difference =
between these
two pianos!</FONT></DIV>
<DIV><FONT face=Arial></FONT> </DIV>
<DIV><FONT face=Arial>You are not even comparing apples and =
oranges -
you are comparing drive shafts and conjugated verbs!</FONT></DIV>
<DIV><FONT face=Arial></FONT> </DIV>
<DIV><FONT face=Arial>I'll pass on the kazoo.....</FONT></DIV>
<DIV><FONT face=Arial></FONT> </DIV>
<DIV><FONT face=Arial>Terry Farrell</FONT></DIV>
<DIV><FONT face=Arial><BR><FONT size=2></FONT></FONT></DIV><FONT =
face=Arial
size=2>> Dear Cynical Smartypantses,<BR>> =
I've
been puttering around with a 106 year old<BR>> Everett upright, in
preparation for the TCM festival;<BR>> and marveling at how an =
unrestored
piano such as this<BR>> can still sound so wonderful: with a rich, =
warm,
clean<BR>> and well-defined tone!<BR>> =
And then I
noticed that every bit of the case <BR>> ( under the veneer, that is =
) seems
to be solid ash,<BR>> excepting the keybed, which is laminated rock
maple<BR>> similar in configuration to the glued-up boards =
used<BR>> in
bowling alleys.<BR>> And then I remembered =
the new,
Georgia-built<BR>> Yamaha upright I tuned at a church last year: with =
its<BR>> particle board case and exceptionally muddy, =
"thubby"<BR>>
tone.....<BR>> What better explanation could =
there
possibly be<BR>> for this contrast than that hard woods =
transmit<BR>>
runaway vibrations back to the board for further<BR>> expression as =
audible
sound, AKA the much-maligned<BR>> "Circle of Sound" ? <BR>>
While we may consider many of those in =
the<BR>>
marketing end of the piano business worthy of a good<BR>> spanking, =
are we
perhaps guilty of letting our disdain<BR>> of them denigrate a valid =
concept
?<BR>> Thump<BR>> <BR>> <BR>> =
<BR>>
<BR>> --- Ron Nossaman <</FONT><A =
href="mailto:rnossaman@cox.net"><FONT
face=Arial size=2>rnossaman@cox.net</FONT></A><FONT face=Arial =
size=2>>
wrote:<BR>> <BR>> > <BR>> > >It has been tuned by two =
other
RPT's recently. I<BR>> > tuned it yesterday and<BR>> > =
>am going
back<BR>> > >to Charleston ( that's where the piano is-50 =
miles<BR>>
> up the road) next<BR>> > >week to see<BR>> > =
> how
MY tuning fared. It was mostly unisons, the<BR>> > worst in the =
A-49
thru<BR>> > >C-64 range.<BR>> > <BR>> > Killer =
octave
country. I'd check crown for sure<BR>> > there.<BR>> > =
<BR>> >
<BR>> > >One other thing I didn't mention in my first =
post<BR>> >
is that I found a<BR>> > >plate lag bolt,<BR>> > >the =
one in
the extreme right front that was not<BR>> > snugged down to =
the<BR>>
> >point that the flat washer<BR>> > >and the lock washer =
both
would spin.<BR>> > <BR>> > Did the rebuilder mount the plate =
with
the old lags<BR>> > (on dowels?) instead of <BR>> > the bolt =
suspension system designed for this plate?<BR>> > <BR>> > =
<BR>>
> >Should this project proceed, and while the board is<BR>> =
> out,
do you see any<BR>> > >benefit in modifying<BR>> > >or =
adding
to the bracing etc. Re-inventing the<BR>> > wheel so to =
speak.<BR>>
> <BR>> > If it was my project, I'd want to add =
bracing,<BR>> >
cutoff and fish, new rib <BR>> > scale, soundboard, bridges, =
string scale
with no<BR>> > wrapped trichords, and do <BR>> > something =
about
that front duplex.<BR>> > <BR>> > <BR>> > =
>I've<BR>>
> >already told the church<BR>> > >that regardless of =
what else
is going on they have<BR>> > a climate control<BR>> > =
>problem
they will have to address.<BR>> > <BR>> > Good! I didn't =
realize
this was a church from your<BR>> > first post.<BR>> > =
<BR>> >
Ron N<BR>> > <BR>> >
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