S&S D Duplex

[Delwin D Fandrich]

----- Original Message -----
From: "Isaac OLEG" <oleg-i@wanadoo.fr>
To: "Delwin D Fandrich" <pianobuilders@olynet.com>; "Pianotech"
<pianotech@ptg.org>
Sent: November 22, 2002 11:18 AM
Subject: RE: S&S D Duplex


> Del,
>
> I know you don't really agree with that, but is not the compression
> crowned allowing , under optimal configuration a more "nervous" board
> (I understand my terminology is poor there).
>
> Or is it only easier to obtain a good response from a board with this
> method (even if the board last less after that) ?
>
> I like to understand where lies the difference in tone between the 2
> methods.
>
> (in 15 lines ;>)
>
> Regards.
>
> Isaac OLEG
------------------------------

Isaac,

All other things being equal, I'm not sure there is a tonal difference
between the two types of boards. Certainly a well crowned
compression-crowned soundboard has the potential of giving a great sound
with excellent sustain. But so does the rib-crowned soundboard.

I resisted the idea of building rib-crowned soundboards for several years
after I started replacing boards for just the reason you mention -- I had
been taught that compression-crowned soundboards were inherently superior.
(They didn't call them "compression-crowned" in those days. This is a term I
made up when I started teaching and writing about two different types.)
After a couple of my early boards started developing the same problems as
those found in new pianos I made the switch.

I have two fundamental problems with compression-crowned soundboards:
    First, they are unpredictable. Their actual crown depends on too many
variables. The starting and ending wood moisture content. The physical
characteristics of the wood used. The environment of the piano once built,
etc.
    Second, they have a highly variable useful life. I have encountered
pianos with compression-crowned soundboards over 100 years old that still
sound fairly good. But I have also encountered pianos still on the showroom
floor with sustain times through the killer octave region that tuning them
would be difficult. The poor piano didn't even make it out of the showroom!
And this is in Seattle, Washington and Portland, Oregon. Two areas noted for
the particularly kind climates.

In any case, I have not been able to detect any tonal differences between
the two systems that I could attribute directly to the crowning technique.
If there is a difference there are so many other variables it gets lost in
the muddle.

Regards,

Del