Are you sure!?? Well,,,,,That has been a big big problem to explain piano SB construction. Why pianos and their SB's are made the way? Nobody has asked this question to us yet. It began long ago with the physics of scaling. = the case shape. Restoring these old pianos especially the ones from 1840's/50's and into the early1890's gave us the opportunity to observe the "builds" inside of most of the greatest of piano makers. We've had quite a few in our time. Harpsichord makers knew about synchronizing wave motion energy and that was transferred to the pianos in Christofore's time. Some of them were masters at nodal/anti nodal science application and some of them got it right! Steinway was one,,,it seems they stole a lot from the Chickerings we are discovering. How does/did that motivate us applying this to a hand held stringed instrument?It was curiosity that got me! When looking at every guitar thing there is, piano SB engineering has been very much ignored. No body has applied this until now. We are using the Chickering construction methods. It seems almost all manufacturers did it this way after 1865/6 and still do. It seems the SB construction we do so far has been unique for guitar type things. There is no X bracing only 5 ribs. = easy. The crown/radii is achieved by moisture absorption = expansion. There is spring energy built in, a springy low curve. I'll explain this much further in the near future maybe . It's not so bizarre as some guitar SB constructions I've seen on Utube for the past 7 years. The "loudspeaker" mentality-infliction is what I call it. Wooden SB's harness the "energy" delivery with wave motion/undulation similar to fiddle SBs where the loudest areas of tonal exchange is not under the bridge.! If one notices the bridge on fiddles is not in the middle longitudinally.! Also there is a footed bridge = a bass foot and a treble foot avoiding the center of the SB = correct and tonally very important. The middle of the SB is an anti phase location!. always! I don't get some putting a solid contact "non footed" bridge on an arch top guitar and killing/damping the lateral undulations. Wonder why the "new" arch top bridges are not on fiddles?? I think Gibson thick heads did this in 1932, after the firing Mr Loar. It is impossible to get this information, even the G. Gruhn people don't know? = bafflement. Oh welllll. Bridge location especially on those arch tops are simply out of phase. One of the main reasons Arch tops simply have no power/volume. Hmmmm, I'm not a musician. But the mechanic doesn't drive the race the car.
Very cool video! Thanks for taking the time! cool design, and that will be some rigid when dry! great job!
I appreciate your innovation. Keep it going!
Thank you, you have an amazing amount of materials in your shop! I really like how you incorporate older piano theory into your builds.
Are you sure!??
Well,,,,,That has been a big big problem to explain piano SB construction.
Why pianos and their SB's are made the way?
Nobody has asked this question to us yet.
It began long ago with the physics of scaling. = the case shape.
Restoring these old pianos especially the ones from 1840's/50's and into the early1890's gave us the opportunity to observe the "builds" inside of most of the greatest of piano makers. We've had quite a few in our time.
Harpsichord makers knew about synchronizing wave motion energy and that was transferred to the pianos in Christofore's time.
Some of them were masters at nodal/anti nodal science application and some of them got it right!
Steinway was one,,,it seems they stole a lot from the Chickerings we are discovering.
How does/did that motivate us applying this to a hand held stringed instrument?It was curiosity that got me!
When looking at every guitar thing there is, piano SB engineering has been very much ignored. No body has applied this until now.
We are using the Chickering construction methods.
It seems almost all manufacturers did it this way after 1865/6 and still do.
It seems the SB construction we do so far has been unique for guitar type things.
There is no X bracing only 5 ribs. = easy.
The crown/radii is achieved by moisture absorption = expansion.
There is spring energy built in, a springy low curve.
I'll explain this much further in the near future maybe .
It's not so bizarre as some guitar SB constructions I've seen on Utube for the past 7 years.
The "loudspeaker" mentality-infliction is what I call it.
Wooden SB's harness the "energy" delivery with wave motion/undulation similar to fiddle SBs where the loudest areas of tonal exchange is not under the bridge.!
If one notices the bridge on fiddles is not in the middle longitudinally.!
Also there is a footed bridge = a bass foot and a treble foot avoiding the center of the SB = correct and tonally very important.
The middle of the SB is an anti phase location!. always!
I don't get some putting a solid contact "non footed" bridge on an arch top guitar and killing/damping the lateral undulations.
Wonder why the "new" arch top bridges are not on fiddles??
I think Gibson thick heads did this in 1932, after the firing Mr Loar.
It is impossible to get this information, even the G. Gruhn people don't know? = bafflement. Oh welllll.
Bridge location especially on those arch tops are simply out of phase.
One of the main reasons Arch tops simply have no power/volume.
Hmmmm, I'm not a musician.
But the mechanic doesn't drive the race the car.
Doesn't race the car.