> About SB replacements, it is fairly possible to ask duplication of a > board's panel in Ciresa, and have all the parts delivered un ribbed, > ribs straights so it is up to the rebuilder to glue and shape himself > the way he wants to. How do you duplicate an original soundboard when most often you don't know if or how much a radius was machined into the ribs, you don't know what radii cauls may have been used during rib-to-panel glue up, and you don't know the panel moisture content at rib-to-panel glue up. So if you do it the way you want to, are you not redesigning the soundboard? Terry Farrell ----- Original Message ----- From: "Isaac OLEG" <oleg-i@wanadoo.fr> To: "Pianotech" <pianotech@ptg.org> Sent: Thursday, April 17, 2003 4:22 PM Subject: RE: Rebuilding for Performance or Show? > Any Soundboard changes I've talked about with friend techs have shown > disappointing results at first, because the original thin tone was > gone for something more difficult to define (lost of time reperes). > > Does not mean of course it is a bad idea to change a soundboard, but > this kind of work have to be done on the restore 's own instruments. > > It seem very risky to sell that kind of work to a customer, even when > explaining him the process. > > I have heard also a very interesting concept (interesting for > depressive techs !) is about the S shape that the soundboard tend to > take in the killer zone : > UI was said that this shape (inflexion point) gives a more stable > figure to the soundboard, and that in fact this shape is wanted for > instance on harpsichords, as being more stable and having an advantage > in tone because of that. > > Our German's rhetoricians can't buy the idea that deformation can be > something good, but I see no reason actually against it, if that > provide a better acoustical work. > > This at last is new ! > > Best regards. > > About SB replacements, it is fairly possible to ask duplication of a > board's panel in Ciresa, and have all the parts delivered un ribbed, > ribs straights so it is up to the rebuilder to glue and shape himself > the way he wants to. > > > Isaac OLEG > > Entretien et reparation de pianos. > > PianoTech > 17 rue de Choisy > 94400 VITRY sur SEINE > FRANCE > tel : 033 01 47 18 06 98 > fax : 033 01 47 18 06 90 > cell: 06 60 42 58 77 > > > -----Message d'origine----- > > De : pianotech-bounces@ptg.org > > [mailto:pianotech-bounces@ptg.org]De la > > part de Ron Nossaman > > Envoye : jeudi 17 avril 2003 17:38 > > A : Pianotech > > Objet : Re: Rebuilding for Performance or Show? > > > > > > > > >And for some rebuilders, performance is defined by $$ > > generated by piano > > >sale. Hence a good reason to help perpetuate the myth that > > the piano was > > >"perfected" over a hundred years ago. It is almost always > > cheeper to > > >duplicate that to change. > > > > It's even cheaper to declare that certain expensive parts > > are immortal, and > > that a little cosmetic work will restore them to like new > > condition. The > > piano will still sell for as much as if it were more > > completely rebuilt > > than less, but the profit margin is higher. I've lost a > > whole lot of > > rebuild work to bids that were 80% of mine, covering less > > than half the > > work I outlined. > > > > > > >Also I believe $$ is the main reason for the widespread > > formula applied to > > >many, many 100 year old high quality pianos: keytops, > > hammers, dampers, > > >shim, strings, refinish. > > > > > >Terry Farrell > > > > And lower the plate to get measurable bearing. Mustn't forget that. > > > > Ron N > > > > _______________________________________________ > > pianotech list info: https://www.moypiano.com/resources/#archives > > > > _______________________________________________ > pianotech list info: https://www.moypiano.com/resources/#archives
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