Just strictly considering numerous ribs creating a "hub" of rib origins - and hence making things more stiff than desirable, why not just plane those ribs down (or in two dimensions) at the hub end (so the total cross-sectional rib area is lowered to something more desireable)? Terry Farrell On Jan 7, 2013, at 9:22 PM, Jim Ialeggio wrote: > Dean wrote: > > <did you reinforce the cut end of the soundboard? Notice on Del's designed boards specifically for bass float that he has a rib run along the edge to provide stiffness there. > > I ran the last rib roughly parallel to bass bridge, under the monochords, but not under the high bass. As I said though, the basic problem, at least as I see it remained. That is the restriction in movement remained. > > In my experiment, getting that "float" rib( as I referred to it in my sheets) to its orientation and location required an accentuation of the radial rib pattern. This accentuated radial pattern had its own engineering consequences. That is, the accentuated radial pattern created a "hub" of rib origination's near the high bass, adding restriction there, while I was attempting to remove restriction in other places. > > That's why I wonder if the restrictions imposed by the available acreage are a checkmate. > > Mind you the piano sounds completely musical, but the high bass is not its selling point. > > > Jim Ialeggio > > -- > Jim Ialeggio > jim at grandpianosolutions.com > 978 425-9026 > Shirley Center, MA >
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