Comment interspersed below: Is this a marketing ad or something? I thought all this was deemed horse-hockey a long time ago. Terry Farrell ----- Original Message ----- From: "gordon stelter" <lclgcnp@yahoo.com> To: "Pianotech" <pianotech@ptg.org> Sent: Monday, September 16, 2002 4:01 AM Subject: Re: Piano Sound: was something else > Whatever vibrations the rim does not immediately > reflect should be quickly carried around the board's > perimeter and transferred back to it. Reflected and carried around? Geez, the marketing picture would look like one of John Madden's football play analysis diagrams. > For this reason, > a very dense rim/case of very hard materials should be > used, as it transmits vibrations the quickest. Or does it simply immobilize the edge of the soundboard well, and let the soundboard do its thing? > And > this is, I believe, one reason why old American pianos > sound so gorgeous: the rims and cases were built of > ash or maple, old growth with very close rings, > properly seasoned and very hard. Particularly > Victorian era pianos. When, exactly, was the "Victorian" era - or what defines it? > So a stiff rim helps the crown stay up Haven't we been through this also? Have you read the multitudes of past posts on this topic? They provide a fairly convincing argument against this line of thinking. >and > refects vibrations back to the board, and a dense rim > carries intruding vibrations around the piano I've seen the marketing BS with the rim reflecting arrows of sound, but never arrows traveling around the piano. Where does this come from? > and back > into the board where they might do the most good. I > have no compunction about neatly placing bolts/screws > between framing members and case parts to facilitate > this stiffness and transmittance, as metal transmits > vibrations better than wood and will not resonate if > embedded in it. Results bear this out. What is your point here with bolts/screws? Where are you putting them? Why? What are the results? > Gordon Stelter SNIP
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