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color="#000000" size="2"> </FONT></FONT></DIV><FONT =
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</FONT></FONT><BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: blue 2px solid"><FONT style="BACKGROUND-COLOR: =
transparent" face="Arial" color="#000000" size="2"><FONT =
face="Arial" color="#000000" size="2"> <DIV> </DIV> <DIV><FONT =
size="3"> My Fellow belly heads</FONT></DIV> <DIV><FONT =
size="3"> In keeping with my own current trend to improve =
the treble function & overall crown stability in the Stwy design I =
thought it might be of interest to some to have a birds eye view of =
the rib layout without the soundboard panel in the way. With the bridge =
located in place over it's respective position a birds eye view is =
instructive.</FONT></DIV> <DIV><FONT size="3"> This design also =
like the Recent S&S O design change incorporates one extra rib in =
the treble. It is easily seen that the extra rib allows for it's =
placement of the no. 9 rib to be placed directly under the killer =
octave at C-6 and the no 11 rib moved higher up on the panel for more =
support. I am finding these features to make for a really clear , =
powerful & sustaining tonal envelope & without the usual =
voicing difficulties & limitations of the traditional design. =
Frankly it's a relief. Rib fanning crosses the boards long grain at =
more obtuse angles adding stiffness without mass( as I'm often =
told) & also allows for taller narrower ribs. The top 4 ribs =
are Sitka & the rest white spruce.</FONT></DIV> <DIV><FONT =
size="3"> A variable radius crown is incorporated in the rib =
crowning. The bass starting about 45 ft & ending at about a 15 =
ft radii at top.all thickness of the panel is about .340 and thinned =
around the tail and especially behind the bass for bass =
response.</FONT></DIV> <DIV><FONT size="3"> There are many things =
not changes i.e. the scale or the bridge location, bridge apron ,or =
many other features that are being employed by my esteemed colleagues. =
I am not opposed to any of these but I have chosen to change what I =
consider the worst defects/weaknesses in a given design first and =
proceed when I'm satisfied to perhaps others. Also certain projects =
won't allow the budget to do more elaborate modifications. =
</FONT></DIV> <DIV><FONT size="3"> more =
below.......................</FONT></DIV><DIV><FONT =
class="Apple-style-span" size="3"><SPAN class="Apple-style-span" =
style="font-size: 12px;"><BR =
class="khtml-block-placeholder"></SPAN></FONT></DIV> <DIV> <FONT =
class="Apple-style-span" face="Helvetica" size="3"><SPAN =
class="Apple-style-span" style="font-size: 12px;"><IMG =
src="cid:4D87860D-D647-4AEA-9891-C05CF3F335C8@local"></SPAN></FONT></DIV=
> <DIV><BR class="khtml-block-placeholder"></DIV> <DIV> </DIV> =
<DIV><FONT size="3"> Below is the original board side by side with =
the new one. The rib foot print easily seen on each. The rib height =
on Steinway designs are dreadfully under supported which IMHO =
accounts for so many flat boards early on. Also other factors include =
Spruce strength is greatly stronger engineering material than the =
sugar pine which is commonly used in C. C. assemblies. </FONT></DIV> =
<DIV><FONT size="3"> I've a S&S Long A in the works as well =
which is almost done .That' I'll post on as soon.as the results are =
known. It has a sweeping cut-off bar & similar rib =
arrangements. It is my idea to be the test guinea pig myself & try =
to fairly evaluate each design & chage as I experience it. If any =
of you are in the area stop by & listen for your =
self.</FONT></DIV> <DIV><FONT size="3"> Sincerely </FONT></DIV> =
<DIV><FONT size="3"> Dale Erwin</FONT></DIV> <DIV><FONT size="3"> =
Also & BTW</FONT></DIV> <DIV><FONT size="3"> I am absolutely =
not denigrating any body else's design preferences be they =
Accurately made C. C. designs or any other by what I'm posting as =
simply my own experience. I've made boards in a variety of =
configurations with about every spruce a rib stock available. Some more =
successful than others.</FONT></DIV> <DIV><FONT size="3"> My =
experience right now is having more reliable outcomes every =
time without the anomalies of the killer octave syndrome to deal =
with</FONT></DIV> <DIV><FONT size="3"> Dale Erwin</FONT></DIV> =
<DIV> </DIV> <DIV> <FONT class="Apple-style-span" =
face="Helvetica" size="3"><SPAN class="Apple-style-span" =
style="font-size: 12px;"><IMG =
src="cid:X.MA2.1121647301@aol.com"></SPAN></FONT></DIV><DIV><BR =
class="khtml-block-placeholder"></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>Rebuilt Steinway , Mason &Hamlin =
Sales<BR>www.Erwinspiano.com</FONT></DIV></DIV></FONT></FONT></BLOCKQUOTE>=
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