Hi Del et al., So these rib ties were somewhat of a "missing link" between the old no-cutoff-bar design and the more modern cutoff bar construction??? Just curious -- What was the evolutionary history, in a few sentences or less? Thanks! Peace, Sarah ----- Original Message ----- From: "Delwin D Fandrich" <pianobuilders@olynet.com> To: "Pianotech" <pianotech@ptg.org> Sent: Wednesday, May 07, 2003 3:16 PM Subject: Re: Oops... Re: Unusual rib structure? > > ----- Original Message ----- > From: "Sarah Fox" <sarah@gendernet.org> > To: "Pianotech" <pianotech@ptg.org> > Sent: May 07, 2003 10:32 AM > Subject: Re: Oops... Re: Unusual rib structure? > > > > Hi Thump, > > > > > As you know, vibrations pass more rapidly along > > > wood grain, than across it. I believe that the intent > > > here was to allow the vibrations, passing into the > > > ribs from the bridge crossover point, to have another > > > means of surface distribution. One which helps them > > > overcome the "cross grain slow-down". And I suspect > > > that Mr.Wissner tried it for this reason, liked the > > > effect, and let it stay. > > > > Dunno... These ties are at the ends of the ribs, not the middle. I was > > thinking they might be under light tension to help maintain the crown. > > > > They are there to simulate a real soundboard cutoff bar. They evolved from > a time when the largest possible vibrating area of soundboard was > considered to be some sacred. Indeed, it still is by some piano makers, > evidence to the contrary notwithstanding. In any case, these straps did > improve the sustain slightly through the mid-tenor and lower treble. Not as > much as a real cutoff bar would have, but they were/are better than > nothing. > > Del > > _______________________________________________ > pianotech list info: https://www.moypiano.com/resources/#archives
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