Although thought provoking at times, with many of Ron's writings I struggle to find what was the purpose. Wood expands and contracts. How does the ratio of movement of one part over the other matter? In the reprinted article in the current journal, in my opinion was one of his weaker articles. I just don't get the strawman argument of comparing a soundboard to architectural structures. Does a soundboard get made differently if one believes in buttress or non buttress?
I did find two articles of Ron's that i thought were fantastic in which i enjoyed very much. They were about pinblocks. In 2009. The first was drilling in two passes for more accuracy and eveness. The second was making your own multi-dense pinblock with more density on top layers and less on the lower layers. Both are great ideas, well thought out, instructive and useful. Kudos Ron.
I think this is the most bizarre post I have seen since joining the guild. At the very least copy and paste the comment in question.
The glass soundboard is very fascinating. Since a traditional board can last a hundred years, I'm not sure that qualifies as vulnerable. I wonder what movers think of a piano having a glass soundboard. There goes the insurance rates.
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It's not unusual for unisons on either side of the break to vary in terms of tension and BP%. In the same manner that low tension and BP% in the low tenor results in greater pitch shifts in that section it would be expected that differences on either side of the breaks would do the same. I'd probably look there first. Personally I've not encountered variations from 5-20 cents in those sections on normal pitch shifts but some differences do occur. That would be a reasonably and not so mysterious explanation.