Here is a photo of Darrell Fandrich riblets.
Note the slight concavity of the flat surface.
They are meant to be attached under the soundboard, screwed into the bridge, in between the full ribs.
The purpose is to add stiffness to the bridge-soundboard structure. The added impedance can reduce the impact sound and add sustain.
Drill a small hole from below into the bridge and attach the riblet.
If it helps, leave it. If not, unscrew it leaving a small hole in the bottom of the soundboard.
Darrell is deceased, but I believe you can buy riblets from the family company.
http://fandrich.com------------------------------
Ed Sutton
ed440@me.com(980) 254-7413
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Original Message:
Sent: 11-16-2021 07:20
From: Jon Page
Subject: Lost crown at treble end of soundboard on historic piano. Any remedy?
Have you considered Fandrich Riblets?
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Regards,
Jon Page
mailto:jonpage@comcast.net
http://www.pianocapecod.com
Original Message:
Sent: 11-06-2021 09:27
From: David Pinnegar
Subject: Lost crown at treble end of soundboard on historic piano. Any remedy?
After restringing an 1869 Broadwood Cottage grand - bicord in centre and trichord in top treble, the top treble is near untunable with false notes on every string. It's been puzzling me.
The instrument gives a good account of itself
Handel, Kulau and Carl Maria von Weber - flute, piano and cello trioYouTube | remove preview |
| Handel, Kulau and Carl Maria von Weber - flute, piano and cello trio | NOTE: all these composers died more than 100 years ago. Any copyright claims are fraudulent by the claimants. 1869 Broadwood Cottage Grand piano tuned to Kir... | View this on YouTube > |
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but that top treble should be as clear as a bell.
Examining the instrument the bridge has sunk and the sounboard is depressed in the tricord area, probably on acount of the 1/3 higher downwards force.
Is there any way perhaps with loosening tension and applying steam and force from underneath that perhaps one might be able to restore the shape of the crown?
I'm guessing that without a proper crown giving a resisting force, vibration of the string moves the soundboard in a manner that changes the string tension depending on whether the string is up or if it is down, so therefore providing two tensions to the string and therefore two resulting notes.
In PTG posts in living memory issues of string twisting when stringing have been explored, and the strings are well mating with the bridge and bridge pins.
For anyone interested in the recording quoted above by the way, Kirnberger III temperament is in use here.
Best wishes
David P
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David Pinnegar BSc ARCS
Hammerwood Park, East Grinstead, Sussex, UK
+44 1342 850594
"High Definition" Tuning
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