When strength is a prerequisite, piano hinges will be found. This makes them perfect candidates for applications that are subjected to extensive use (or abuse) and intense wear and tear. Regardless of the use, piano hinges are easy to install, are very affordable, and are extremely durable. Piano hinges are available in various thicknesses, pin diameters, widths, finishes, and customized designs.
#Piano soundboard full#
One big difference between piano hinges and other hinge types is the fact that piano hinges will run the full length of the surface they serve – hence, the name ‘continuous’. Piano hinges, also known as ‘continuous hinges’, represent one of the many types of hinges where 6, 7, and 8-foot lengths are not uncommon. Piano pedals (the levers at your feet) enrich the sound in various ways, opening out possibilities further than the keyboard, from subtle nuances in dynamic to bold changes in the tone. The sounds available to you when you play are not limited to what you do with your hands. It is best to have a used piano checked by a qualified piano technician to fully evaluate the piano soundboard and its condition. If the crown is lost, soundboard replacement may be necessary to obtain good power and tone. Soundboards that have several cracks, mostly due to age and/or large fluctuations in humidity over the life of the board, can lose crowns which would result in dull lifeless tone quality. It can be repaired with re-gluing or even shimming. However, it can cause buzzing from certain frequencies. This is not detrimental or life ending for the piano. Older piano soundboards often form cracks, especially where the thin boards are glued together. The bridges are usually made from maple and their primary function is to transfer the string vibration to the soundboard. The best results are obtained when the grain of the soundboard runs parallel to the bridges. Wood for soundboards, usually spruce, needs to be light and elastic. The back of the soundboard has ribs made of wood that are glued to the soundboard to strengthen and support the crown. The soundboard has a crown which is very important to the tone and resonance of the piano. Above that limit, the structural waves are confined by ribs, as already noticed by several authors, and localised in restricted areas (one or a few inter-rib spaces), presumably due to a slightly irregular spacing of the ribs across the soundboard.Piano sound boards are thin boards commonly made of spruce approximately 3/8″ thick glued together and extend from the bottom of the piano on a vertical, and the tail of the piano on a grand, to the pin-block and then across the full width of the piano. Below ≈1 kHz, the soundboard vibrates more or less like a homogeneous plate.
The frequency-dependency of the estimated modal densities and the observation of modal shapes reveal two well-separated regimes.
The low-order modal shapes and the comparison between the corresponding experimental and numerical modal frequencies suggest that the boundary conditions can be considered as blocked, except at very low frequencies. A finite-element modelling of the soundboard is also presented. They turn out to be close to those imposed by wood. Modal dampings (which, so far, were unknown for the piano in this frequency range) are determined in the mid-frequency domain where FFT-based methods fail to evaluate them with an acceptable precision. Given this essentially linear response, a modal identification is performed up to 3 kHz by means of a novel high resolution modal analysis technique. The nonlinear part of the soundboard response to an external excitation is quantitatively estimated for the first time, at ≈-40 dB below the linear part at the ff nuance. An original vibro-acoustical method is presented to isolate the soundboard nonlinearity from that of the exciting device (here: a loudspeaker) and to measure it. The piano soundboard transforms the string vibration into sound and therefore, its vibrations are of primary importance for the sound characteristics of the instrument.
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