This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment Well, I guess what I mean is that even though you are not doing the boards like Steinway does them (or did them), nobody is jumping up and down saying that it doesn't sound like a Steinway. Moreover, they are saying some very nice things about how the pianos are sounding. My compliments. The question when all this started was whether the various approaches were just different ways to skin a cat, so to speak, that there is nothing inherent in the CC method that produces that "Steinway" sound. Given a Steinway rim, there are various ways to get there. >From what you describe as your methodology and from the responses to the product, it would seem that yours is some evidence to that. That's all. And thanks, the mountains were great. No pianos! David Love davidlovepianos@comcast.net -----Original Message----- From: pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org] On Behalf Of Erwinspiano@aol.com Sent: Saturday, February 26, 2005 9:30 PM To: pianotech@ptg.org Subject: Re: Pictures of Intereting Sound board designs (Modified byKentSwafford) Hi Dave Well I tend to be an experiential type human & I know only that when I hear something I like I expore it. > Well since I can't get close enough to any body elses redesigns to hear them I have incrementally decided to expereiment in that direction. So I need to do my own & make up my own mind. I'm a bit nervous about the outcome as it's a huge financial risk & my yes , it is my piano. I have been thinkng about the Killer octave problems & I surmise by conjecture & intimation from other that what the remedy is is more support. so The Long A design is my solution , hopefully. I may be dismally disappointed. > Do you mean the sound speaks for it self regardless of the means to get there? Then I'd agree. You mean other than they really like them? No I wouldn't. I.E.I've already stated my tonal preference for my Boards with white spruce ribs Subjective though it may be I've heard enough of them to know & all compreesion boards are made with sugar pine of which I've used in the past as well. Also with good results but the white gives the sound more clarity. JMHO. I my find that all the usual stuff ,as you say, that I do in my usual protocol may indeed prove to be a better formula for me since it's producing a good outcome & is a known quaantity. I'm always one to but the better mouse trap , so I'll see, & I will report back with candor & honesty.... After the piano is sold...grin Well all I know is that in many of the older designs I hear the most sustain & musical life in are from these old boards. You explain it to me please. Yes, They were probably compression crowned. I don't know if the ribs were crowned except perhaps a little on the Ludwig. I haven't even checked the crown. But I will & report after I take the strings off. Fair enough. I do think that in any case the number of taller ribs gives more stiffness to the crown support. & even when a board like those mentioned has only little crown left they stil have amazing tonal properties. I'm just trying to observe these design when they strike me as excellent sounding & then try to find a reason. Simply with more ribs in the system adds more weight& stiffness & thus more mechanical impedance. In the Ludwig I don't find any weak notes. This piano is 100 years old. Original strings. So all the concerns with longevity considering even slight design improvements is almost a mute & funny point to me. I know my boards won't cave in even in 75 yrs so for me Its about the sound... Yes! If these other designs give me even more of what I want then................. Regards & Wecome back from the Mountains Dave Dale David Love davidlovepianos@comcast.net ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/60/c8/97/21/attachment.htm ---------------------- multipart/alternative attachment--
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