Hi Wim, You can bet your Great Aunt Fanny there's more to soundboards than the quality of materials used. First, you have to intelligently define 'quality'. For soundboard assemblies (ribs and panel), from a purely performance standpoint, quality equates to the physical properties of a high stiffness/weight ratio, light weight, high rebound elasticity, low internal damping (friction) and probably a couple of other things I'm not thinking of at the moment. The material doesn't have to even be wood, much less spruce. I think this is a lot like the attitudes surrounding horizontally laminated bridges. They are pre-judged, by prejudicial ignorance, as being inherently inferior, rather than just poorly used, so they are only used in the lower end pianos. Naturally they sound lousy, but that isn't necessarily the fault of the laminations because the piano would probably sound lousy with the sexiest materials money could buy because it's a lousy piano. Since the only pianos we see using these types of bridges and soundboards sound lousy, we can point and sneer at how bad that laminated board/bridge sounds and the self reinforcing delusion of the inherent inferiority of this type of construction continues. Del's been saying all along that a laminated soundboard can sound good if it's designed correctly, and I don't doubt it a bit. The trouble is that you just don't hear good ones because manufacturers aren't going to hang their future in the wind on something that the public and technical community will condem in the rumor stage as inferior because they KNOW that spruce sounds better. I've sure heard too many terrible sounding, brand spanking new, state of the traditional art, solid spruce soundboards with socially acceptable, vertically laminated bridges, to not be willing to entertain alternatives based on scientifically defined potential merit, rather than traditional ignorance. In other words, yea, I guess I agree. Ron
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