Music Trade Review

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THE
MUSIC
TRADE
REVIEW,
FORM OF THE VIBRATORY MOTION
Again it appears that the vibration of the
soundboard is mainly diaphragmatic. That
is to say the soundboard does by far the
greater part of its work by behaving like
a drum head. Its movements are up-and-
down movements. There is some motion in
a transverse direction along the grain of the
wood, but this is very slight, and apparently
has very little effect upon the tonal result.
The pick-up transmitter which we have
used shows us vibrational forms from the
soundboard markedly less complex than the
forms of the complete sounds. It is possible
that improvements in the transmitter will
show better results from the soundboard;
but I am inclined still to believe, subject of
course to later correction, that the higher
harmonics are resonated more by the plate
and the case, especially by the plate. This
is a matter for further investigation.
From these preliminary findings we are
able to draw some conclusions which appear
to me to be important.
DEDUCTIONS FROM THE RESEARCH
The first conclusion is that the present
standard soundboard construction makes use
of only a small part of the total structure.
It is necessary to discover why this should
be so. I think we shall find that we have
ignored, through lack of information, the un-
doubted fact that the soundboard acts prin-
cipally like a drum head.' It is plain that
if the soundboard is to perform its functions
satisfactorily it must be designed and built
in the understanding that its function is to
vibrate as a drum head (or a perfectly
elastic distortionless spring) would vibrate.
Truly, one does not expect to produce such
a perfect state of affairs in its entirety; but
one does say that perfection can be approxi-
mated, and that genuine improvement be-
comes possible from the moment that the cor-
rect understanding of the leading principle
is grasped. This leading principle is that
of the diaphragmatic motion of the sound-
board.
The most important question then is:
how are we to make the soundboard vibrate
more freely and throughout a greater part
of its area? I shall not attempt here to
make an answer in any completeness, but
shall simply point out that if we consider
peculiar needs of the soundboard, as to its
strains bearing properties and its part in the
construction of the complete instrument, we
shall see that the desirable combination must
be rigidity at the rim with maximum dia-
phragmatic motion at the bridge; and a de-
sign which shall not stiffen the wood out
of all ability to vibrate within ten inches
of its rim.
Here is just one suggestion. Try thin :
ning the board at the rim, and combine this
with more thickness under the bridges. Keep
the bass bridge nearer the center. Study
•carefully the ribbing, remembering that
transfer of vibration along the grain is
comparatively a matter of secondary im-
portance. Strive above everything else to in-
crease the spring-action of the board
throughout its area.
The second conclusion arrived at is that
the ability of the ordinary soundboard to
pick up and reproduce the high frequencies
is at present very small. What is the cause
of this failure? First, I think, we have to
33
O c t o b e r , 1931
remember that for the tones above 500 cycles
the strings are becoming very short (the scale
of lengths is from six inches down to two).
The actual amount of energy released
through the hammer strokes is therefore
steadily becoming smaller, while simultane-
ously the stiffness of the wire is increasing.
This at once suggests that the bridges in
the upper regions, and the structure of board
as well, need careful study. It is quite pos-
sible that changes in design may here be
needed in order to improve the response of
the board and thereby to impart something
of genuine pianoforte tone to the high treble.
At present the complaint justly made as to
every pianoforte is that its majestic sonorous
bass region is ill-matched by the compara-
tive thinness of its treble.
Investigation
shows that the fault lies, in part at least,
with the inability of the board as at present
constructed to respond to the higher fre-
quencies. This suggests that a fresh study is
needed of the wood and of its physical struc-
ture. I am of the opinion that we shall
gravitate towards a construction less bulky.
Perhaps we shall turn away from wood al-
together. Some of my readers are perhaps
aware that already certain metals are being
investigated with a view to discovering their
responsive value as resonators for musical in-
struments.
I believe without any hesitation that the
most pressing problem connected with the
rehabilitation of the pianoforte and with its
readaptation to modern needs is to be found
in its resonance apparatus. There can be
no doubt, in my opinion, that we have
progressed to a slighter extent in this than in
any other branch of the art. We do know
more about strings and about actions than
we know about the physical behavior of
the soundboard. Moreover, improved knowl-
edge in this department is a necessary pre-
lude to improved practice.
Improved
resonance, without a doubt, will give us a
pianoforte with a far more beautiful treble,
with a smoother quality of tone throughout
and with far greater sustaining and carry-
ing power. The pianoforte of tomorrow needs
all this.
A NEW HELP FOR TUNERS
Fred Stoltz of Holland, Michigan, has
devised and is now selling an ingenious
method for securing good repair work on
ivory keys. Every tuner has experimented
with all sorts of ways of gluing ivories on
to pianoforte keys, and has wished that he
could do a good job easily and securely.
Mr. Stoltz's invention appears to solve the
problem beautifully. He applies the ad-
hesive material in the shape of a sheet which
can be cut exactly to fit the work and which
is then applied easily and certainly to make
a perfect joint. I recommend highly this
ingenious and very cheap device to piano
repairmen.
NEW DEVICE REGISTERS
RESPONSE OF THE PIANO
A "piano camera" developed at the Uni-
versity of Iowa enables a musician to get
a photographic record of the instrument's
exact response.
Each piano hammer is fitted with a paper
tab in which a narrow slit has been cut.
The camera, with a moving film, is set above
the hammers. When a key is struck the
hammer moves toward the string and the
slit in the paper, passing the camera,
photographs a dot.
At the instant the hammer strikes the
string, light falls on the film, making an-
other mark. The hammer's rebound also is
recorded.
The camera was devised by Joseph H.
Tifh'n in collaboration with Dr. Carl E. Sea-
shore, head of the university psychology de-
partment.
MEETING OF NEW YORK
PIANO-TECHNICIANS
Despite unusually warm weather over
fifty-two members of the Piano-Tuner
Technicians Association of New York City
attended the September meeting of that or-
ganization, and evinced much interest in the
work that is being done and the progress
MUSICIANS AND PIANOFORTE
made. An extensive list of applicants for
MECHANICS
membership was received and arrangements
made for the necessary examination of the
I wish to thank R. Shero, the well-known
tuner and technical expert of Pasadena, candidates.
Cal., for a most interesting letter brought
The first reading of the Constitution of
out by my last month's article on my work
the organization took place and after three
with musicians on the mechanics of the
readings it will be adopted. It was also de-
pianoforte. Mr. Shero agrees as to the grave cided to incorporate the body under the laws
need of such work but suggests (justly of New York State and arrangements have
enough) that there is an equally grave dan-
been made for an attractive seal and mem-
ger in imparting to a musician just enough
bership button.
knowledge to enable him to strengthen some
The aim of the association is to bring to-
pet theory, but not enough to lay a broad
gether the most able craftsmen in the terri-
foundation on which that theory may be tory and to that end great care will be used
judged. The criticism is worth noting.
in the selection of members.
WE iti:rim
Any Kind of Player Action
Long experience • Prompt shipments
The Moore <&. Fisher Manufacturing Co.
Deep River, Conn.