Soundboard Evaluation

[Ron Nossaman]

>Well in all seriousness then I suppose you can then explain to me what he did
>say in the following quote below then...

He said that (in context) replacing ribs on a compression crowned board and
making it into a rib crowned board with the same old panel would probably
sound about (not exactly, but about) the same as if he had replaced the
panel too. He didn't say it was "just as good", or that there was "no
difference". His point was that in a rib crowned board, the panel is of
significantly less importance to function than in a compression crowned
board. At least that's what I got out of it.  


>While I agree with you about the "soul of the piano" thingy... the
>"incidentally" part seems to conflict with the basic premise that the age of 
>the panel makes no difference.

It's not the age of the panel that is the problem in the old board, it's
the cumulative compression set that prevents the panel in that old
compression crowned board from maintaining crown. The root of the problem
is the original construction method. 


> Rather it would seem that it has been stated that it
>is the condition of the soundboard assembly as a whole that warrants a
fix. The
>wood of the panel in itself has in principal no significant affect unless its
>like all warped out of shape and destroyed in that or some similiar sense..

The condition of the wood of the panel is of primary importance in
compression crowned boards, but not nearly so much in rib crowned. That's
the difference. 


>Listen, I am actually very interested in all this... but seem to need some
>sensibility in argumentation that some others find annoying... so perhaps if 
>you would be kind enough to write some words that may clear up the 
>matter for me in a private note...I would be greatfull.

I kept this on the list, because it was probably confusing to a lot of
folks who might care but just didn't ask. It really does make sense, but it
has to be looked at in context, taking everything together. It's just like
trying to diagnose action response dynamics by counting the leads in the
keys. Just looking at one factor isn't real enlightening. It's a little
more complicated than that, but understandable if we apply the accumulated
information we already have.

I can't speak for Del, but I spend so much time defending and defining
these concepts because I have found them to be right on the money
scientifically and conceptually, or at least closer by far than any other
I've heard or considered. My hope is that occasionally, someone will
understand these basic concepts and logically apply them to further
questions and observations about soundboard function in a cause and effect
relationship - just like with tuning or action work. The idea is to learn
as much of the real stuff as possible and discard as much of the
accumulated misconceptual junk as we can in the process.

I hope that makes sense.


Ron N