Pianotech

Hello,

What's the name of this wood at the top of many pianos? To my knowledge (which may very well be lacking) it helps reflect the sound back over this very short segment of soundboard to help the top notes project a little better. Is this correct?

If so, would there be any reason not to extend one a little higher toward the strings on a rebuild, possibly tapering a little lower toward the dampers to help transition? I've noticed that on some older pianos, this region doesn't quite project like Yamahas and Kawais for example, which generally have incredible 7th octaves IMO. I want to have an option for creating a little more "sparkle" without only depending on light hammers and upper/lower duplex scales, especially if the piano seems weak in this area prior to tear down. 

Any thoughts on this would be appreciated. Thanks!

Hello,

What's the name of this wood at the top of many pianos? To my knowledge (which may very well be lacking) it helps reflect the sound back over this very short segment of soundboard to help the top notes project a little better. Is this correct?

If so, would there be any reason not to extend one a little higher toward the strings on a rebuild, possibly tapering a little lower toward the dampers to help transition? I've noticed that on some older pianos, this region doesn't quite project like Yamahas and Kawais for example, which generally have incredible 7th octaves IMO. I want to have an option for creating a little more "sparkle" without only depending on light hammers and upper/lower duplex scales, especially if the piano seems weak in this area prior to tear down. 

Any thoughts on this would be appreciated. Thanks!

As with anything in the piano world, this piece has many names (even within the same company)

Steinway patent 180,671 (8/1/1876) calls it a "Binding Bar"

Steinway's current engineering documents call it a "Soundboard Reinforcing Strip"

I've heard it referred to verbally as the "Treble Support Piece"

Hello,

What's the name of this wood at the top of many pianos? To my knowledge (which may very well be lacking) it helps reflect the sound back over this very short segment of soundboard to help the top notes project a little better. Is this correct?

If so, would there be any reason not to extend one a little higher toward the strings on a rebuild, possibly tapering a little lower toward the dampers to help transition? I've noticed that on some older pianos, this region doesn't quite project like Yamahas and Kawais for example, which generally have incredible 7th octaves IMO. I want to have an option for creating a little more "sparkle" without only depending on light hammers and upper/lower duplex scales, especially if the piano seems weak in this area prior to tear down. 

Any thoughts on this would be appreciated. Thanks!

Chris,

Thanks for your input! I have acquired some different woods for the cap. I'm planning on trying some experiments on a 1924 Chickering's Scale 123. I picked up some quarter sawn Purple Heart, bloodwood, padauk and Osage Orange. I think the first two woods might be too brittle, padauk is not quite as hard as I want, though it beats hard maple. Leaning towards Osage - I know you've used that successfully.

Any thoughts on modifying the Venditio Stropha? Making it out of bloodwood, for example? The Chickering has no duplex scale.

Daniel,

Thanks for providing the names! The names suggest more of structural purpose, not a function for sound. Is this correct?

As with anything in the piano world, this piece has many names (even within the same company)

Steinway patent 180,671 (8/1/1876) calls it a "Binding Bar"

Steinway's current engineering documents call it a "Soundboard Reinforcing Strip"

I've heard it referred to verbally as the "Treble Support Piece"

Hello,

What's the name of this wood at the top of many pianos? To my knowledge (which may very well be lacking) it helps reflect the sound back over this very short segment of soundboard to help the top notes project a little better. Is this correct?

If so, would there be any reason not to extend one a little higher toward the strings on a rebuild, possibly tapering a little lower toward the dampers to help transition? I've noticed that on some older pianos, this region doesn't quite project like Yamahas and Kawais for example, which generally have incredible 7th octaves IMO. I want to have an option for creating a little more "sparkle" without only depending on light hammers and upper/lower duplex scales, especially if the piano seems weak in this area prior to tear down. 

Any thoughts on this would be appreciated. Thanks!

I was having a little fun with Venditio Stropha, which is Latin for Sales Gimmick. But to be fair, one of my mentors told me it helps reflect the vibrations back to the board.(You decide). Osage is wonderful for caps, carves easy which is weird since its so hard. I have a truck load of it, but unfortunately i have to get rid of it as am severely allergic to it. I'll probably go back to Hickory myself, which i found to be very musical as well, and its easy for me to get. Any wood over 1800 janka would be great, but you have to consider availability, machinability, tonal quality, non-oily, etc. Boxwood is very hard and has a very fine grain, so its a great choice. My buddy Erwin likes Jojoba. Makes sure to use high quality tools when using these harder woods. I carve by hand and use Lie Nelson chisels, which keeps a sharp edge. I keep them so sharp that going through Osage is like butter.

-chris

Chris,

Thanks for your input! I have acquired some different woods for the cap. I'm planning on trying some experiments on a 1924 Chickering's Scale 123. I picked up some quarter sawn Purple Heart, bloodwood, padauk and Osage Orange. I think the first two woods might be too brittle, padauk is not quite as hard as I want, though it beats hard maple. Leaning towards Osage - I know you've used that successfully.

Any thoughts on modifying the Venditio Stropha? Making it out of bloodwood, for example? The Chickering has no duplex scale.

Daniel,

Thanks for providing the names! The names suggest more of structural purpose, not a function for sound. Is this correct?

As with anything in the piano world, this piece has many names (even within the same company)

Steinway patent 180,671 (8/1/1876) calls it a "Binding Bar"

Steinway's current engineering documents call it a "Soundboard Reinforcing Strip"

I've heard it referred to verbally as the "Treble Support Piece"

Hello,

What's the name of this wood at the top of many pianos? To my knowledge (which may very well be lacking) it helps reflect the sound back over this very short segment of soundboard to help the top notes project a little better. Is this correct?

If so, would there be any reason not to extend one a little higher toward the strings on a rebuild, possibly tapering a little lower toward the dampers to help transition? I've noticed that on some older pianos, this region doesn't quite project like Yamahas and Kawais for example, which generally have incredible 7th octaves IMO. I want to have an option for creating a little more "sparkle" without only depending on light hammers and upper/lower duplex scales, especially if the piano seems weak in this area prior to tear down. 

Any thoughts on this would be appreciated. Thanks!

🤣 I bit that one hook, line and sinker!

Any thought on brittleness factor of bloodwood, for example? I think it's really pretty, and it carves easily, but I don't want it breaking along the grain with string tension. I looked for Jatoba but couldn't find any suitable grain- hit or miss when looking through flat sawn lumber.

I was having a little fun with Venditio Stropha, which is Latin for Sales Gimmick. But to be fair, one of my mentors told me it helps reflect the vibrations back to the board.(You decide). Osage is wonderful for caps, carves easy which is weird since its so hard. I have a truck load of it, but unfortunately i have to get rid of it as am severely allergic to it. I'll probably go back to Hickory myself, which i found to be very musical as well, and its easy for me to get. Any wood over 1800 janka would be great, but you have to consider availability, machinability, tonal quality, non-oily, etc. Boxwood is very hard and has a very fine grain, so its a great choice. My buddy Erwin likes Jojoba. Makes sure to use high quality tools when using these harder woods. I carve by hand and use Lie Nelson chisels, which keeps a sharp edge. I keep them so sharp that going through Osage is like butter.

-chris

Chris,

Thanks for your input! I have acquired some different woods for the cap. I'm planning on trying some experiments on a 1924 Chickering's Scale 123. I picked up some quarter sawn Purple Heart, bloodwood, padauk and Osage Orange. I think the first two woods might be too brittle, padauk is not quite as hard as I want, though it beats hard maple. Leaning towards Osage - I know you've used that successfully.

Any thoughts on modifying the Venditio Stropha? Making it out of bloodwood, for example? The Chickering has no duplex scale.

Daniel,

Thanks for providing the names! The names suggest more of structural purpose, not a function for sound. Is this correct?

As with anything in the piano world, this piece has many names (even within the same company)

Steinway patent 180,671 (8/1/1876) calls it a "Binding Bar"

Steinway's current engineering documents call it a "Soundboard Reinforcing Strip"

I've heard it referred to verbally as the "Treble Support Piece"

Hello,

What's the name of this wood at the top of many pianos? To my knowledge (which may very well be lacking) it helps reflect the sound back over this very short segment of soundboard to help the top notes project a little better. Is this correct?

If so, would there be any reason not to extend one a little higher toward the strings on a rebuild, possibly tapering a little lower toward the dampers to help transition? I've noticed that on some older pianos, this region doesn't quite project like Yamahas and Kawais for example, which generally have incredible 7th octaves IMO. I want to have an option for creating a little more "sparkle" without only depending on light hammers and upper/lower duplex scales, especially if the piano seems weak in this area prior to tear down. 

Any thoughts on this would be appreciated. Thanks!

I have used quarter sawn Pau Ferro to cap the bridges on a Steinway O.  It is a beautiful chocolate and black striped tropical hardwood.. 1960 on the Janka scale with good crushing strength, tight grained with tiny pores.  It carves very cleanly without tearout and has a beautiful lustre. The tone is bright and clean, and it has good body in the midrange, whereas Maple is a bit recessive.

I used some Greenheart that came out of Boston harbor.for the top two sections on a Steinway O. It had a relaxed clarity to it.  One of the stiffest woods in the world, Janka about 2700.  Interlocked grain. miserable to notch, loved the tone.

------------------------------
William Truitt RPT
Bridgewater NH
(603) 744-2277

Original Message:
Sent: 01-09-2026 22:01
From: Tim Foster
Subject: What's this called? Can it be improved?

🤣 I bit that one hook, line and sinker!

Any thought on brittleness factor of bloodwood, for example? I think it's really pretty, and it carves easily, but I don't want it breaking along the grain with string tension. I looked for Jatoba but couldn't find any suitable grain- hit or miss when looking through flat sawn lumber.

------------------------------
Tim Foster RPT
New Oxford PA
(470) 231-6074

Original Message:
Sent: 01-09-2026 21:54
From: Chris Chernobieff
Subject: What's this called? Can it be improved?

I was having a little fun with Venditio Stropha, which is Latin for Sales Gimmick. But to be fair, one of my mentors told me it helps reflect the vibrations back to the board.(You decide). Osage is wonderful for caps, carves easy which is weird since its so hard. I have a truck load of it, but unfortunately i have to get rid of it as am severely allergic to it. I'll probably go back to Hickory myself, which i found to be very musical as well, and its easy for me to get. Any wood over 1800 janka would be great, but you have to consider availability, machinability, tonal quality, non-oily, etc. Boxwood is very hard and has a very fine grain, so its a great choice. My buddy Erwin likes Jojoba. Makes sure to use high quality tools when using these harder woods. I carve by hand and use Lie Nelson chisels, which keeps a sharp edge. I keep them so sharp that going through Osage is like butter.

-chris

------------------------------
Chernobieff Piano Restorations
chrisppff@gmail.com
Youtube@chernobieffpiano
865-986-7720 (text only please)

Original Message:
Sent: 01-09-2026 20:46
From: Tim Foster
Subject: What's this called? Can it be improved?

Chris,

Thanks for your input! I have acquired some different woods for the cap. I'm planning on trying some experiments on a 1924 Chickering's Scale 123. I picked up some quarter sawn Purple Heart, bloodwood, padauk and Osage Orange. I think the first two woods might be too brittle, padauk is not quite as hard as I want, though it beats hard maple. Leaning towards Osage - I know you've used that successfully.

Any thoughts on modifying the Venditio Stropha? Making it out of bloodwood, for example? The Chickering has no duplex scale.

Daniel,

Thanks for providing the names! The names suggest more of structural purpose, not a function for sound. Is this correct?

------------------------------
Tim Foster RPT
New Oxford PA
(470) 231-6074

Original Message:
Sent: 01-09-2026 09:54
From: Daniel DeBiasio
Subject: What's this called? Can it be improved?

As with anything in the piano world, this piece has many names (even within the same company)

Steinway patent 180,671 (8/1/1876) calls it a "Binding Bar"

Steinway's current engineering documents call it a "Soundboard Reinforcing Strip"

I've heard it referred to verbally as the "Treble Support Piece"

------------------------------
Daniel DeBiasio
Technical Education & Support
ddebiasio@steinway.com
718-267-3229
Steinway & Sons

Original Message:
Sent: 01-08-2026 22:28
From: Tim Foster
Subject: What's this called? Can it be improved?

Hello,

What's the name of this wood at the top of many pianos? To my knowledge (which may very well be lacking) it helps reflect the sound back over this very short segment of soundboard to help the top notes project a little better. Is this correct?

If so, would there be any reason not to extend one a little higher toward the strings on a rebuild, possibly tapering a little lower toward the dampers to help transition? I've noticed that on some older pianos, this region doesn't quite project like Yamahas and Kawais for example, which generally have incredible 7th octaves IMO. I want to have an option for creating a little more "sparkle" without only depending on light hammers and upper/lower duplex scales, especially if the piano seems weak in this area prior to tear down. 

Any thoughts on this would be appreciated. Thanks!

------------------------------
Tim Foster RPT
New Oxford PA
(470) 231-6074
------------------------------

Chris,

Thanks for your input! I have acquired some different woods for the cap. I'm planning on trying some experiments on a 1924 Chickering's Scale 123. I picked up some quarter sawn Purple Heart, bloodwood, padauk and Osage Orange. I think the first two woods might be too brittle, padauk is not quite as hard as I want, though it beats hard maple. Leaning towards Osage - I know you've used that successfully.

Any thoughts on modifying the Venditio Stropha? Making it out of bloodwood, for example? The Chickering has no duplex scale.

Daniel,

Thanks for providing the names! The names suggest more of structural purpose, not a function for sound. Is this correct?

------------------------------
Tim Foster RPT
New Oxford PA
(470) 231-6074

Original Message:
Sent: 01-09-2026 09:54
From: Daniel DeBiasio
Subject: What's this called? Can it be improved?

As with anything in the piano world, this piece has many names (even within the same company)

Steinway patent 180,671 (8/1/1876) calls it a "Binding Bar"

Steinway's current engineering documents call it a "Soundboard Reinforcing Strip"

I've heard it referred to verbally as the "Treble Support Piece"

------------------------------
Daniel DeBiasio
Technical Education & Support
ddebiasio@steinway.com
718-267-3229
Steinway & Sons

Original Message:
Sent: 01-08-2026 22:28
From: Tim Foster
Subject: What's this called? Can it be improved?

Hello,

What's the name of this wood at the top of many pianos? To my knowledge (which may very well be lacking) it helps reflect the sound back over this very short segment of soundboard to help the top notes project a little better. Is this correct?

If so, would there be any reason not to extend one a little higher toward the strings on a rebuild, possibly tapering a little lower toward the dampers to help transition? I've noticed that on some older pianos, this region doesn't quite project like Yamahas and Kawais for example, which generally have incredible 7th octaves IMO. I want to have an option for creating a little more "sparkle" without only depending on light hammers and upper/lower duplex scales, especially if the piano seems weak in this area prior to tear down. 

Any thoughts on this would be appreciated. Thanks!

------------------------------
Tim Foster RPT
New Oxford PA
(470) 231-6074
------------------------------

Hi Tim,

When it comes to piano building, structural is tonal and this is a perfect example.

I'll simply let the patent speak for itself, but there have been some interesting takes in this thread regarding the function and necessity of this nearly 150 year old component.

From the patent:

"This invention consists in the combination of a binding-bar with the edge of the sounding-board of a piano-forte, said edge being cut off in an oblique direction, so that the binding-bar forms a solid abutment for the fibers of the sounding-board, and that, by its action, the fullness of the tone, particularly of the treble-strings, is materially increased"

US-0180671-A

Chris,

Thanks for your input! I have acquired some different woods for the cap. I'm planning on trying some experiments on a 1924 Chickering's Scale 123. I picked up some quarter sawn Purple Heart, bloodwood, padauk and Osage Orange. I think the first two woods might be too brittle, padauk is not quite as hard as I want, though it beats hard maple. Leaning towards Osage - I know you've used that successfully.

Any thoughts on modifying the Venditio Stropha? Making it out of bloodwood, for example? The Chickering has no duplex scale.

Daniel,

Thanks for providing the names! The names suggest more of structural purpose, not a function for sound. Is this correct?

As with anything in the piano world, this piece has many names (even within the same company)

Steinway patent 180,671 (8/1/1876) calls it a "Binding Bar"

Steinway's current engineering documents call it a "Soundboard Reinforcing Strip"

I've heard it referred to verbally as the "Treble Support Piece"

Hello,

What's the name of this wood at the top of many pianos? To my knowledge (which may very well be lacking) it helps reflect the sound back over this very short segment of soundboard to help the top notes project a little better. Is this correct?

If so, would there be any reason not to extend one a little higher toward the strings on a rebuild, possibly tapering a little lower toward the dampers to help transition? I've noticed that on some older pianos, this region doesn't quite project like Yamahas and Kawais for example, which generally have incredible 7th octaves IMO. I want to have an option for creating a little more "sparkle" without only depending on light hammers and upper/lower duplex scales, especially if the piano seems weak in this area prior to tear down. 

Any thoughts on this would be appreciated. Thanks!

Hi Tim,

When it comes to piano building, structural is tonal and this is a perfect example.

I'll simply let the patent speak for itself, but there have been some interesting takes in this thread regarding the function and necessity of this nearly 150 year old component.

From the patent:

"This invention consists in the combination of a binding-bar with the edge of the sounding-board of a piano-forte, said edge being cut off in an oblique direction, so that the binding-bar forms a solid abutment for the fibers of the sounding-board, and that, by its action, the fullness of the tone, particularly of the treble-strings, is materially increased"

US-0180671-A

Chris,

Thanks for your input! I have acquired some different woods for the cap. I'm planning on trying some experiments on a 1924 Chickering's Scale 123. I picked up some quarter sawn Purple Heart, bloodwood, padauk and Osage Orange. I think the first two woods might be too brittle, padauk is not quite as hard as I want, though it beats hard maple. Leaning towards Osage - I know you've used that successfully.

Any thoughts on modifying the Venditio Stropha? Making it out of bloodwood, for example? The Chickering has no duplex scale.

Daniel,

Thanks for providing the names! The names suggest more of structural purpose, not a function for sound. Is this correct?

As with anything in the piano world, this piece has many names (even within the same company)

Steinway patent 180,671 (8/1/1876) calls it a "Binding Bar"

Steinway's current engineering documents call it a "Soundboard Reinforcing Strip"

I've heard it referred to verbally as the "Treble Support Piece"

Hello,

What's the name of this wood at the top of many pianos? To my knowledge (which may very well be lacking) it helps reflect the sound back over this very short segment of soundboard to help the top notes project a little better. Is this correct?

If so, would there be any reason not to extend one a little higher toward the strings on a rebuild, possibly tapering a little lower toward the dampers to help transition? I've noticed that on some older pianos, this region doesn't quite project like Yamahas and Kawais for example, which generally have incredible 7th octaves IMO. I want to have an option for creating a little more "sparkle" without only depending on light hammers and upper/lower duplex scales, especially if the piano seems weak in this area prior to tear down. 

Any thoughts on this would be appreciated. Thanks!

Daniel, we cannot down lhe patent claim, we are unauthorized.

The question I would want to ask is, why not make the strip thicker by a fair amount, using a heavy and hard wood?  That section structurally is the weakest part of the rim, in an area where stiffness is the most needed and is lacking.

Hi Tim,

When it comes to piano building, structural is tonal and this is a perfect example.

I'll simply let the patent speak for itself, but there have been some interesting takes in this thread regarding the function and necessity of this nearly 150 year old component.

From the patent:

"This invention consists in the combination of a binding-bar with the edge of the sounding-board of a piano-forte, said edge being cut off in an oblique direction, so that the binding-bar forms a solid abutment for the fibers of the sounding-board, and that, by its action, the fullness of the tone, particularly of the treble-strings, is materially increased"

US-0180671-A

Chris,

Thanks for your input! I have acquired some different woods for the cap. I'm planning on trying some experiments on a 1924 Chickering's Scale 123. I picked up some quarter sawn Purple Heart, bloodwood, padauk and Osage Orange. I think the first two woods might be too brittle, padauk is not quite as hard as I want, though it beats hard maple. Leaning towards Osage - I know you've used that successfully.

Any thoughts on modifying the Venditio Stropha? Making it out of bloodwood, for example? The Chickering has no duplex scale.

Daniel,

Thanks for providing the names! The names suggest more of structural purpose, not a function for sound. Is this correct?

As with anything in the piano world, this piece has many names (even within the same company)

Steinway patent 180,671 (8/1/1876) calls it a "Binding Bar"

Steinway's current engineering documents call it a "Soundboard Reinforcing Strip"

I've heard it referred to verbally as the "Treble Support Piece"

Hello,

What's the name of this wood at the top of many pianos? To my knowledge (which may very well be lacking) it helps reflect the sound back over this very short segment of soundboard to help the top notes project a little better. Is this correct?

If so, would there be any reason not to extend one a little higher toward the strings on a rebuild, possibly tapering a little lower toward the dampers to help transition? I've noticed that on some older pianos, this region doesn't quite project like Yamahas and Kawais for example, which generally have incredible 7th octaves IMO. I want to have an option for creating a little more "sparkle" without only depending on light hammers and upper/lower duplex scales, especially if the piano seems weak in this area prior to tear down. 

Any thoughts on this would be appreciated. Thanks!

I noticed that too after I posted it.

It's a link to a PDF on the United States Patent and Trademark Office website. (uspto.gov) They probably don't allow external links to lead to pages on their website.

To view the patent yourself, you'll have to navigate to https://www.uspto.gov/patents/search/patent-public-search

click "basic search"

and then search 0180671

Daniel, we cannot down lhe patent claim, we are unauthorized.

The question I would want to ask is, why not make the strip thicker by a fair amount, using a heavy and hard wood?  That section structurally is the weakest part of the rim, in an area where stiffness is the most needed and is lacking.

Hi Tim,

When it comes to piano building, structural is tonal and this is a perfect example.

I'll simply let the patent speak for itself, but there have been some interesting takes in this thread regarding the function and necessity of this nearly 150 year old component.

From the patent:

"This invention consists in the combination of a binding-bar with the edge of the sounding-board of a piano-forte, said edge being cut off in an oblique direction, so that the binding-bar forms a solid abutment for the fibers of the sounding-board, and that, by its action, the fullness of the tone, particularly of the treble-strings, is materially increased"

US-0180671-A

Chris,

Thanks for your input! I have acquired some different woods for the cap. I'm planning on trying some experiments on a 1924 Chickering's Scale 123. I picked up some quarter sawn Purple Heart, bloodwood, padauk and Osage Orange. I think the first two woods might be too brittle, padauk is not quite as hard as I want, though it beats hard maple. Leaning towards Osage - I know you've used that successfully.

Any thoughts on modifying the Venditio Stropha? Making it out of bloodwood, for example? The Chickering has no duplex scale.

Daniel,

Thanks for providing the names! The names suggest more of structural purpose, not a function for sound. Is this correct?

As with anything in the piano world, this piece has many names (even within the same company)

Steinway patent 180,671 (8/1/1876) calls it a "Binding Bar"

Steinway's current engineering documents call it a "Soundboard Reinforcing Strip"

I've heard it referred to verbally as the "Treble Support Piece"

Hello,

What's the name of this wood at the top of many pianos? To my knowledge (which may very well be lacking) it helps reflect the sound back over this very short segment of soundboard to help the top notes project a little better. Is this correct?

If so, would there be any reason not to extend one a little higher toward the strings on a rebuild, possibly tapering a little lower toward the dampers to help transition? I've noticed that on some older pianos, this region doesn't quite project like Yamahas and Kawais for example, which generally have incredible 7th octaves IMO. I want to have an option for creating a little more "sparkle" without only depending on light hammers and upper/lower duplex scales, especially if the piano seems weak in this area prior to tear down. 

Any thoughts on this would be appreciated. Thanks!

If you do find an improvement up there, does it then become a Steinwas?

I noticed that too after I posted it.

It's a link to a PDF on the United States Patent and Trademark Office website. (uspto.gov) They probably don't allow external links to lead to pages on their website.

To view the patent yourself, you'll have to navigate to https://www.uspto.gov/patents/search/patent-public-search

click "basic search"

and then search 0180671

Daniel, we cannot down lhe patent claim, we are unauthorized.

The question I would want to ask is, why not make the strip thicker by a fair amount, using a heavy and hard wood?  That section structurally is the weakest part of the rim, in an area where stiffness is the most needed and is lacking.

Hi Tim,

When it comes to piano building, structural is tonal and this is a perfect example.

I'll simply let the patent speak for itself, but there have been some interesting takes in this thread regarding the function and necessity of this nearly 150 year old component.

From the patent:

"This invention consists in the combination of a binding-bar with the edge of the sounding-board of a piano-forte, said edge being cut off in an oblique direction, so that the binding-bar forms a solid abutment for the fibers of the sounding-board, and that, by its action, the fullness of the tone, particularly of the treble-strings, is materially increased"

US-0180671-A

Chris,

Thanks for your input! I have acquired some different woods for the cap. I'm planning on trying some experiments on a 1924 Chickering's Scale 123. I picked up some quarter sawn Purple Heart, bloodwood, padauk and Osage Orange. I think the first two woods might be too brittle, padauk is not quite as hard as I want, though it beats hard maple. Leaning towards Osage - I know you've used that successfully.

Any thoughts on modifying the Venditio Stropha? Making it out of bloodwood, for example? The Chickering has no duplex scale.

Daniel,

Thanks for providing the names! The names suggest more of structural purpose, not a function for sound. Is this correct?

As with anything in the piano world, this piece has many names (even within the same company)

Steinway patent 180,671 (8/1/1876) calls it a "Binding Bar"

Steinway's current engineering documents call it a "Soundboard Reinforcing Strip"

I've heard it referred to verbally as the "Treble Support Piece"

Hello,

What's the name of this wood at the top of many pianos? To my knowledge (which may very well be lacking) it helps reflect the sound back over this very short segment of soundboard to help the top notes project a little better. Is this correct?

If so, would there be any reason not to extend one a little higher toward the strings on a rebuild, possibly tapering a little lower toward the dampers to help transition? I've noticed that on some older pianos, this region doesn't quite project like Yamahas and Kawais for example, which generally have incredible 7th octaves IMO. I want to have an option for creating a little more "sparkle" without only depending on light hammers and upper/lower duplex scales, especially if the piano seems weak in this area prior to tear down. 

Any thoughts on this would be appreciated. Thanks!

If you do find an improvement up there, does it then become a Steinwas?

I noticed that too after I posted it.

It's a link to a PDF on the United States Patent and Trademark Office website. (uspto.gov) They probably don't allow external links to lead to pages on their website.

To view the patent yourself, you'll have to navigate to https://www.uspto.gov/patents/search/patent-public-search

click "basic search"

and then search 0180671

Daniel, we cannot down lhe patent claim, we are unauthorized.

The question I would want to ask is, why not make the strip thicker by a fair amount, using a heavy and hard wood?  That section structurally is the weakest part of the rim, in an area where stiffness is the most needed and is lacking.

Hi Tim,

When it comes to piano building, structural is tonal and this is a perfect example.

I'll simply let the patent speak for itself, but there have been some interesting takes in this thread regarding the function and necessity of this nearly 150 year old component.

From the patent:

"This invention consists in the combination of a binding-bar with the edge of the sounding-board of a piano-forte, said edge being cut off in an oblique direction, so that the binding-bar forms a solid abutment for the fibers of the sounding-board, and that, by its action, the fullness of the tone, particularly of the treble-strings, is materially increased"

US-0180671-A

Chris,

Thanks for your input! I have acquired some different woods for the cap. I'm planning on trying some experiments on a 1924 Chickering's Scale 123. I picked up some quarter sawn Purple Heart, bloodwood, padauk and Osage Orange. I think the first two woods might be too brittle, padauk is not quite as hard as I want, though it beats hard maple. Leaning towards Osage - I know you've used that successfully.

Any thoughts on modifying the Venditio Stropha? Making it out of bloodwood, for example? The Chickering has no duplex scale.

Daniel,

Thanks for providing the names! The names suggest more of structural purpose, not a function for sound. Is this correct?

As with anything in the piano world, this piece has many names (even within the same company)

Steinway patent 180,671 (8/1/1876) calls it a "Binding Bar"

Steinway's current engineering documents call it a "Soundboard Reinforcing Strip"

I've heard it referred to verbally as the "Treble Support Piece"

Hello,

What's the name of this wood at the top of many pianos? To my knowledge (which may very well be lacking) it helps reflect the sound back over this very short segment of soundboard to help the top notes project a little better. Is this correct?

If so, would there be any reason not to extend one a little higher toward the strings on a rebuild, possibly tapering a little lower toward the dampers to help transition? I've noticed that on some older pianos, this region doesn't quite project like Yamahas and Kawais for example, which generally have incredible 7th octaves IMO. I want to have an option for creating a little more "sparkle" without only depending on light hammers and upper/lower duplex scales, especially if the piano seems weak in this area prior to tear down. 

Any thoughts on this would be appreciated. Thanks!

Hello,

What's the name of this wood at the top of many pianos? To my knowledge (which may very well be lacking) it helps reflect the sound back over this very short segment of soundboard to help the top notes project a little better. Is this correct?

If so, would there be any reason not to extend one a little higher toward the strings on a rebuild, possibly tapering a little lower toward the dampers to help transition? I've noticed that on some older pianos, this region doesn't quite project like Yamahas and Kawais for example, which generally have incredible 7th octaves IMO. I want to have an option for creating a little more "sparkle" without only depending on light hammers and upper/lower duplex scales, especially if the piano seems weak in this area prior to tear down. 

Any thoughts on this would be appreciated. Thanks!

------------------------------
Tim Foster RPT
New Oxford PA
(470) 231-6074
------------------------------

Tim Foster and All,

In our shop we merely called it the treble cap.

If we look at any model Steinway from above we find that the bridges are glued to the soundboard panel in a narrow section of the panel, roughly 8" wide. This swath terminates as it abuts the inside of the outer rim at the back end of the instrument. At the front, this swath "spills over" the narrow section of bellyrail in the high treble. If we are to believe that this swath of soundboard panel is the most active and important (because it saddles the bridges) then we ought to capture that energy and do our best to throw it back onto the vibrating system until all energy (music) has died away, as the player dictates and/or the piano is capable.

At the tail of the instrument this swath should be as tightly fitted up against the inside of the outer rim as possible. [For that matter the soundboard should be fitted to the rim as tightly as possible everywhere, a topic for another discusion.] We do not have that opportunity or luxury in the high treble - the energy is easily lost. I believe the purpose of the treble cap is to harness the bridges' energy and couple it to the rim at the upper end of the swath. This is accomplished in two ways: the cap is beveled into the edge of the soundboard to create maximum wood-to-wood, glued contact. Now this cap is "alive" with whatever the bridges have to offer. Unfortunately, this energy bleeds out both ends of the cap. Given the current state of piano design and production worldwide there isn't anything that can be done to capture the energy leaking out of the bass end of the cap. {Maybe someone will come up with a solution. In fact, my excellent rebuilding compatriot, Shawn Hoar, once built a Mason &Hamlin BB with a treble cap that ran the full length of the soundboard panel atop the bellyrail, all the way down to note 1 and over to the bass rim.] However, if the treble end of the cap is tightly fitted to the inside of the outer rim up beyond note 88 we have done the best we can.

We always made a concerted effort to fit the treble end of the cap tightly to the inside of the rim, to the extent that the soundboard assembly would get re-fitted into the rim as few times as possible subsequently for the setting of downbearing and other chores, so that we did not wear out the intimate contact we had achieved earlier in the process. The center of the assembly would get artificially arched (tugged) upward when installing and removing the soundboard to protect the "grind" we had achieved. It could be said that the soundboard was a tad wider than the width of the case, so that the front end of the soundboard was forced/sprung down into the case when it was finally glued in. And, of course, the end grain of the cap got glued to the rim when doing so.

To my knowledge the Steinway patent for the "binding bar" does not mention the desirability of a tight fit of this cap at its treble end to the inside of the outer rim. Perhaps this verbiage was omitted intentionally, even if they knew that was their proprietary desire. Sneaky people, those 19th century Steinway designers.

Returning to Tim Foster's photo, this appears to be a Yamaha piano. My experience observes Asian piano makers do not bevel this cap into the edge of the soundboard, and there is no great attention paid to its termination into the rim at the treble end. We all might agree these are pianos of world class performance and tone, competing favorably with Steinway on the concert stage, so I may have just undermined everything I have said so far.

Finally, I like those who have contributed in this discussion that this cap should be as hard as possible. We always used quartersawn maple, but there are perhaps better alternatives. Who knows, maybe a steel or titanium member should be utilized, along with a dedicated method to anchor it into the rim at the treble end, and possibly even at the bass end into the belly structure. 

David G. Hughes, RPT

Baltimore Chapter

------------------------------
David Hughes RPT
Vintage Case Parts
Glyndon MD
(443) 522-2201

Original Message:
Sent: 01-08-2026 22:28
From: Tim Foster
Subject: What's this called? Can it be improved?

Hello,

What's the name of this wood at the top of many pianos? To my knowledge (which may very well be lacking) it helps reflect the sound back over this very short segment of soundboard to help the top notes project a little better. Is this correct?

If so, would there be any reason not to extend one a little higher toward the strings on a rebuild, possibly tapering a little lower toward the dampers to help transition? I've noticed that on some older pianos, this region doesn't quite project like Yamahas and Kawais for example, which generally have incredible 7th octaves IMO. I want to have an option for creating a little more "sparkle" without only depending on light hammers and upper/lower duplex scales, especially if the piano seems weak in this area prior to tear down. 

Any thoughts on this would be appreciated. Thanks!

------------------------------
Tim Foster RPT
New Oxford PA
(470) 231-6074
------------------------------

Tim Foster and All,

In our shop we merely called it the treble cap.

If we look at any model Steinway from above we find that the bridges are glued to the soundboard panel in a narrow section of the panel, roughly 8" wide. This swath terminates as it abuts the inside of the outer rim at the back end of the instrument. At the front, this swath "spills over" the narrow section of bellyrail in the high treble. If we are to believe that this swath of soundboard panel is the most active and important (because it saddles the bridges) then we ought to capture that energy and do our best to throw it back onto the vibrating system until all energy (music) has died away, as the player dictates and/or the piano is capable.

At the tail of the instrument this swath should be as tightly fitted up against the inside of the outer rim as possible. [For that matter the soundboard should be fitted to the rim as tightly as possible everywhere, a topic for another discusion.] We do not have that opportunity or luxury in the high treble - the energy is easily lost. I believe the purpose of the treble cap is to harness the bridges' energy and couple it to the rim at the upper end of the swath. This is accomplished in two ways: the cap is beveled into the edge of the soundboard to create maximum wood-to-wood, glued contact. Now this cap is "alive" with whatever the bridges have to offer. Unfortunately, this energy bleeds out both ends of the cap. Given the current state of piano design and production worldwide there isn't anything that can be done to capture the energy leaking out of the bass end of the cap. {Maybe someone will come up with a solution. In fact, my excellent rebuilding compatriot, Shawn Hoar, once built a Mason &Hamlin BB with a treble cap that ran the full length of the soundboard panel atop the bellyrail, all the way down to note 1 and over to the bass rim.] However, if the treble end of the cap is tightly fitted to the inside of the outer rim up beyond note 88 we have done the best we can.

We always made a concerted effort to fit the treble end of the cap tightly to the inside of the rim, to the extent that the soundboard assembly would get re-fitted into the rim as few times as possible subsequently for the setting of downbearing and other chores, so that we did not wear out the intimate contact we had achieved earlier in the process. The center of the assembly would get artificially arched (tugged) upward when installing and removing the soundboard to protect the "grind" we had achieved. It could be said that the soundboard was a tad wider than the width of the case, so that the front end of the soundboard was forced/sprung down into the case when it was finally glued in. And, of course, the end grain of the cap got glued to the rim when doing so.

To my knowledge the Steinway patent for the "binding bar" does not mention the desirability of a tight fit of this cap at its treble end to the inside of the outer rim. Perhaps this verbiage was omitted intentionally, even if they knew that was their proprietary desire. Sneaky people, those 19th century Steinway designers.

Returning to Tim Foster's photo, this appears to be a Yamaha piano. My experience observes Asian piano makers do not bevel this cap into the edge of the soundboard, and there is no great attention paid to its termination into the rim at the treble end. We all might agree these are pianos of world class performance and tone, competing favorably with Steinway on the concert stage, so I may have just undermined everything I have said so far.

Finally, I like those who have contributed in this discussion that this cap should be as hard as possible. We always used quartersawn hard rock maple, but there are perhaps better alternatives. Who knows, maybe a steel or titanium member should be utilized, along with a dedicated method to anchor it into the rim at the treble end, and possibly even at the bass end into the belly structure. 

David G. Hughes, RPT

Baltimore Chapter

------------------------------
David Hughes RPT
Vintage Case Parts
Glyndon MD
(443) 522-2201

Original Message:
Sent: 01-08-2026 22:28
From: Tim Foster
Subject: What's this called? Can it be improved?

Hello,

What's the name of this wood at the top of many pianos? To my knowledge (which may very well be lacking) it helps reflect the sound back over this very short segment of soundboard to help the top notes project a little better. Is this correct?

If so, would there be any reason not to extend one a little higher toward the strings on a rebuild, possibly tapering a little lower toward the dampers to help transition? I've noticed that on some older pianos, this region doesn't quite project like Yamahas and Kawais for example, which generally have incredible 7th octaves IMO. I want to have an option for creating a little more "sparkle" without only depending on light hammers and upper/lower duplex scales, especially if the piano seems weak in this area prior to tear down. 

Any thoughts on this would be appreciated. Thanks!

------------------------------
Tim Foster RPT
New Oxford PA
(470) 231-6074
------------------------------