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"Black Power": Richard J. DAIN´s pioneering composite piano #2049755
03/17/13 03:58 PM
03/17/13 03:58 PM
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Wilhelm6 Offline OP
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170cm, lightweight, CF plate w/ two metal struts, overstrung, PHOENIX system w/ CF soundbord, wooden bridges, CF case, CF legs w/o casters, WNG action, wooden keyboard ...


The composite piano that has been announced by Richard J. DAIN (#1889510) some time ago was unveiled at "Cremona Mondomusica/Cremona Pianoforte", September 28th-30th 2012, Cremona (IT), at the "Composites Engineering Show", November 7th-8th 2012, Birmingham (UK) and at the "JEC Europe 2013" composites exhibition, March 12th-14th 2013, Paris (F) as a prototype. At the latter event Richard´s pioneering FRP grand was part of a special innovation corner showing the most innovative composite parts.


[Linked Image]
Cremona Mondomusica/Cremona Pianoforte, September 28th-30th 2012, Cremona (IT)


"The Composite Piano" In: Connect for Engineers and Business Leaders, p. 4, In: Air Talk, Winter 2012

Retrac Composites Ltd was approached by Hurstwood Farm Piano Studios and Simpact Engineering Ltd in June 2011 to discuss the possibility of manufacturing a revolutionary design carbon composite prototype piano. The R&D project was to be a collaboration of five companies, who would individually contribute to knowledge, design, material manufacture and composite component manufacture. The Companies would embark on a journey not only to test the boundaries of composite design, but to work together and be a part of the first major piano conceptual design change for well over a century, which would surely change the whole industry as Theodore Steinway's new piano did in 1886 and a century before with Cristofori's first instrument with escapement operated percussion hammers in a world that only knew Harpsichords and Clavichords. Carbon Fibre was chosen to construct a piano because of the following properties.

Weight
Performance and sound quality
Stability

The collaborating companies, Simpact Engineering Ltd, Creactive Design Ltd, Retrac and SAATI developed the innovative design concept proposed by Hurstwood Farm Piano Studios with them into an engineered solution. The project got underway in November 2011 with the manufacture of hand-crafted patterns. Split mould tools were manufactured from the patterns to form the larger sections of the Piano's design. With moulds manufactured and materials delivered, Retrac Composites Ltd started the production of the prototype components in March 2012.

[Linked Image]
The Composites Engineering Show, November 7th-8th 2012, National Exhibition Centre (NEC), Birmingham (UK)

Here is an extract from a letter from the customer to Retrac:
“We are really delighted with the outcome. You have demonstrated the very best that earns British engineering its reputation; you should be rightly proud of a great achievement. I and my colleagues know this standard is only achieved when those who do the work are truly dedicated to its success. There can be no question that the team at Retrac who worked on the piano had that dedication to our project.”

After weeks of manufacturing effort and well over 1000 man hours of labour in composite production of the prototype, the Piano was finally ready to be unveiled to the musical world at the Cremona Mondamusica festival in Italy, (the home of Cristofori’s original piano), on 28th – 30th September 2012.

[Linked Image]
The Composites Engineering Show, November 7th-8th 2012, National Exhibition Centre (NEC), Birmingham (UK)


"[u]The Revolution in Carbon Fibre Piano Design is here![/u][/b]" At: SIMPACT Engineering Ltd (UK)

[Linked Image]
See the carbon fibre prototype at the NEC Composites Engineering Show. 7th-8th November

In our five year engineering development project for Hurstwood Pianos Studios and Phoenix Piano Systems, the first carbon fibre piano design out of the mould will be on display next week at the National Exhibition Centre, Birmingham.

The piano will be displayed on the stand of Retrac Composites who were commissioned to build the first prototype model using their vast amount of experience in the building of complex systems in carbon fibre.

Simpact Project Manager, Dr Dirk Landheer said that without the application of modern virtual design and analysis techniques, this achievement would have been unthinkable. A combination of 3D digitisations, CAE and CAD has produced an advanced design which materialises the design concept of Mr Richard Dain, Chairman of Hurstwood Farm Piano Studios. It has some important acoustic as well as innovative functional qualities and only weighs around one third of a traditional concert grand.

SAATI, global manufacturer of a wide range of specialist fabrics in carbon, manufactured and supplied the specific composite material for the piano.

The frame of a piano has to withstand string forces in excess of 100kN which is why all pianos for the past 150 years have been built around large and very heavy cast iron frames. The concept of introducing a low mass and high strength material in an acoustic environment was identified as a significant challenge right from the start of the project but using advanced modelling techniques grown from modern OEM development, it has been a complete success which is now being confirmed by the prototype.


"[u][b]Composite Piano Tips the Scales[/u][/b]" At: Composites in Manufacturing (CIM), UK

Author: Mike Richardson
Date Published: 20.02.2013

One of the more tuneful exhibits striking a chord during last year’s Composites Engineering Show was a carbon fibre construction piano. Mike Richardson hears how Retrac Composites and its partners worked in harmony to reduce the piano’s weight and improve its acoustics.

Whether it’s a keyboard rock giant like Keith Emerson, a pop star like Elton John or even a rhythm & blues celebrity like Jools Holland, their grand pianos can be heavy brutes to manoeuvre from gig to gig, night after night. And yet all they need to do is turn up, sit down, hammer out a few tunes on the old thing and accept the applause.

So spare a thought for the poor old roadie. They’re the first to arrive and the last to leave, and are relied on to engage in the back-breaking job of lugging nigh on 500kg in weight of musical equipment across the stages of concert halls around the world.

However, a lightweight solution is waiting in the wings in the form of the world’s first carbon fibre composite construction prototype piano designed and built by a collaboration of five companies that not only tested the boundaries of composite design, but worked together to become a part of the first major piano conceptual design change for well over a century.

[Linked Image]
The Composites Engineering Show, November 7th-8th 2012, National Exhibition Centre (NEC), Birmingham (UK)

[b]Collaboration is key

The partnership of Simpact Engineering, Creactive Design, Saati and Retrac Composites developed the innovative design concept proposed by Hurstwood Farm Piano Studios. Carbon fibre was used to construct the piano because of the properties of weight, performance and sound quality, and stability.

Split mould tools were manufactured from handcrafted patterns to form the larger sections of the piano’s design, and once delivered, Retrac Composites set about the production of the prototype components.

The aim of the partnership’s research was threefold. Firstly, to explore the possibilities of improved acoustic performance if a piano was constructed of a material of high stiffness to density ratio such as carbon fibre. This factor was the reason for the choice of spruce wood for traditional pianos. The second aim was to reduce the mass of the instrument to facilitate transport. Finally, a plan was implemented to study whether a material such as carbon fibre would enable more climate resistant pianos to be built.

Modern pianos are constructed using a cast iron frame and steel strings. The coefficient of expansion of the two materials is similar; therefore with change of ambient temperature the tension and therefore pitch in the strings remains relatively unchanged. A piano with a carbon fibre frame would expand minimally with rise in ambient temperature, yet the strings would expand and lose tension and pitch. A compensation method for temperature change had to be devised. The use of carbon fibre in the soundboard reduced the acoustic energy loss in the material of the instrument disproportionately in favour of higher frequencies. The research entailed determination of material quality and controlling energy input to the soundboard at different frequencies. In particular the efficiency of transmission of vibration energy in the strings was found to be so enhanced that longitudinal vibration in the strings became significant and had to be suppressed because it caused unwanted beat frequencies with the normal lateral vibration of the strings.

From drawing board to keyboard

Retrac Composites’ role was to take engineering drawings and make and assemble a precision prototype piano. Traditional pianos are handcrafted and components are shaped together to work in perfect harmony. Carbon fibre is not a material that can easily be shaped and crafted after formation. The carbon fibre piano had to be built to a finished high accuracy because subsequent cutting and shaping as widely used in traditional piano manufacture wasn’t an option.

As the bridge of a traditional piano is dimensionally critical, Retrac applied the latest CNC machining techniques to hitherto unachieved standards of precision and optimal geometry instead of the normal hand carving procedure.

The prototype piano concept design required encapsulation of a wooden tuning pin block in a carbon fibre skin, so that the feel of the tuning pins would be acceptable to piano tuners using conventional practice. Tests were done to determine the effect of curing the carbon fibre skin on the condition of the encapsulated wood block and therefore, the ‘feel’ of the tuning pins, and to determine the most appropriate dimensions for the pin pilot holes to ensure the correct torque on the pins.

The prototype piano is the smallest of a proposed range of five sizes from 170cm to 272cm long. The design concept is modular and many parts are common for all sizes. Many lessons have been learned from the prototype. The plan is to build a pre-production piano of one of the larger sizes - probably 232cm, which will incorporate the changes resulting from experience with the prototype. At this stage production tooling will have to be designed and made. Otherwise no major further research work is needed to produce pianos at the rate of about 100 each year.

In terms of the key differences between a carbon fibre and a traditional handcrafted wooden one, the characteristics of mass, sound power and sound quality, and climate tolerance are said to be greatly improved. Retrac says virtually all feedback has been positive. The piano produces more sound power from a given finger power input and therefore feels easier to play accurately. This translates into a feeling of enhanced security in the artist. The piano’s action fitting in a precision case is easier to achieve to high standard.

[Linked Image]
The Composites Engineering Show, November 7th-8th 2012, National Exhibition Centre (NEC), Birmingham (UK)

A work in progress

So, what’s next for the carbon fibre piano and are there any plans to mass produce it or design and build other musical instruments? Retrac say there are a number of additional developments in planning to take piano design into the next century. These include variable elasticity hammers to enable real-time variation of the piano timbre by the artist, a climate resistant and more stable key frame made in carbon fibre, and a novel method of piano key articulation, which is intended to give the artist better feedback from the instrument by reduced friction in the mechanism. A cost-saving study is also planned, with initial costing suggesting that the present design is competitive with traditional quality instruments. All of which must be sweet music to the roadie’s ears!

www.retrac-composites.com


[video:youtube]8XMooWP22aE[/video]
The Composites Engineering Show, November 7th-8th 2012, National Exhibition Centre (NEC), Birmingham (UK)


[Linked Image]
The Composites Engineering Show, November 7th-8th 2012, National Exhibition Centre (NEC), Birmingham (UK)


[Linked Image]
JEC Europe 2013 composites exhibition, March 12th-14th 2013, Paris (F)


Last but not least:

[Linked Image]
Richard J. DAIN, the spiritus rector (2008)

So, what would John BROADWOOD say? Thank you Rich, I´m hoping the progress will move on.


The business partners*:
CREACTIVE Design Ltd (UK)
RETRAC Composites Ltd (UK)
SAATIGroup s.p.a. (IT)
SIMPACT Engineering Ltd (UK)


BTW, what I would like to see next*: smile
Delwin D. FANDRICH´s flatstrung grand(s)
Don A. GILMORE´s self-tuning piano system, production version (!)
David KLAVINS´ 408 barless flatstrung grand
Stephen PAULELLO´s barless flatstrung grand(s)
Richard SHEPHERD´s advanced SE2 version of Wayne STAHNKE´s SE system built-in a composite grand


* in alphabetical order


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Re: Richard J. DAIN´s pioneering composite piano [Re: Wilhelm6] #2049768
03/17/13 04:19 PM
03/17/13 04:19 PM
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accordeur Offline
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That is really cool! How much does it weigh?


Jean Poulin

Musician, Tuner and Technician

www.actionpiano.ca
Re: Richard J. DAIN´s pioneering composite piano [Re: Wilhelm6] #2049769
03/17/13 04:28 PM
03/17/13 04:28 PM
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I am struck by how often someone hyping their new product will not provide a decent recording of it, as if the sound were unimportant. In this case, I am doubly struck by the photos, since it is ugly, too!


Semipro Tech
Re: Richard J. DAIN´s pioneering composite piano [Re: Wilhelm6] #2049777
03/17/13 04:32 PM
03/17/13 04:32 PM
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I think it looks great, and even though the guy playing it is obviously a beginner, it does sound like a piano. I am sure other videos and recordings will surface and I for one am very happy that finally, innovation seems to be happening.

All the best.


Jean Poulin

Musician, Tuner and Technician

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Re: Richard J. DAIN´s pioneering composite piano [Re: Wilhelm6] #2049785
03/17/13 04:50 PM
03/17/13 04:50 PM
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Ed McMorrow, RPT Offline
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Richard Dain is to be commended for putting the work and money on the line to move the state of the art forward. Every real innovation in piano design has involved incorporating new materials to solve problems.

In the early 1980's a piano technician by the name of Keith Keller in the Seattle area tried to build a piano with carbon fibre frame and spruce soundboard. I don't think he ever finished it. He did get a patent on certain elements. He is now deceased.

The tone quality that comes through the video clip posted here leaves much to be desired. I can only guess at what the piano sounds like. But then again from seeing how sound is manipulated by recording engineers-I don't know if I ever trust recordings to represent the reality you would experience in person.

I do wonder what the design of the front string termination element is. From the photos it looks like nothing else I have ever seen. I also wonder if they used a W,N&G action. (Post edit) I missed the intro-it does have W,N&G.

Last edited by Ed McMorrow, RPT; 03/17/13 04:51 PM.

In a seemingly infinite universe-infinite human creativity is-seemingly possible.
According to NASA, 93% of the earth like planets possible in the known universe have yet to be formed.
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Re: Richard J. DAIN´s pioneering composite piano [Re: Wilhelm6] #2049789
03/17/13 04:54 PM
03/17/13 04:54 PM
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It lists WNG right at the top of the post, and to me the front termination looks a bit like the Bosendorfer type of removable capo bar. But i'm guessing about that.


Jean Poulin

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www.actionpiano.ca
Re: Richard J. DAIN´s pioneering composite piano [Re: Wilhelm6] #2049817
03/17/13 05:34 PM
03/17/13 05:34 PM
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The A0 key must really fan out to the left, look at the size of that endblock! I would be worried about the balance rail bushings, but not so much if the bass is that much more clear. I would rather replace bushings more often if the overall result is musically superior and the tuning stability improved. I would still like to know how much it weighs.


Jean Poulin

Musician, Tuner and Technician

www.actionpiano.ca
Re: Richard J. DAIN´s pioneering composite piano [Re: accordeur] #2049829
03/17/13 05:59 PM
03/17/13 05:59 PM
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Originally Posted by accordeur
That is really cool! How much does it weigh?

"[u]The Revolution in Carbon Fibre Piano Design is here![/u][/b]" At: SIMPACT Engineering Ltd (UK)
...
Simpact Project Manager, Dr Dirk Landheer said that without the application of modern virtual design and analysis techniques, this achievement would have been unthinkable. A combination of 3D digitisations, CAE and CAD has produced an advanced design which materialises the design concept of Mr Richard Dain, Chairman of Hurstwood Farm Piano Studios. It has some important acoustic as well as innovative functional qualities and [b]only weighs around one third of a traditional concert grand.
...

The comparable STEINGRAEBER & Söhne salon grand model A-170 weighs 310kg. So I guess the prototype could weigh around 100kg. Rich´s final goal was 160lbs.

Re: Richard J. DAIN´s pioneering composite piano [Re: Wilhelm6] #2049830
03/17/13 06:01 PM
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Thank you!!!!


Jean Poulin

Musician, Tuner and Technician

www.actionpiano.ca
Re: Richard J. DAIN´s pioneering composite piano [Re: Wilhelm6] #2049845
03/17/13 06:31 PM
03/17/13 06:31 PM
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One third of a traditional concert grand would be about 300 to 400 pounds. A traditional 170 cm grand would be perhaps 500 to 600 pounds.


Semipro Tech
Re: Richard J. DAIN´s pioneering composite piano [Re: Wilhelm6] #2049864
03/17/13 07:02 PM
03/17/13 07:02 PM
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I would settle for half the weight, and if it's a third. Great!

Imagine going to a gig by yourself with a 170cm acoustic piano that weighs 200 pounds, and stays in tune on the way.

I want one!!!


Jean Poulin

Musician, Tuner and Technician

www.actionpiano.ca
Re: Richard J. DAIN´s pioneering composite piano [Re: Wilhelm6] #2049907
03/17/13 08:06 PM
03/17/13 08:06 PM
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Well, I suppose this is somewhat of a promational thread, but it is interesting... and something new and inovative.

Unfortunately, the recording in the video didn't sound too good to me... sorry.

I still like the traditional acoustic piano, but that is just my opinion.

Rick


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Re: Richard J. DAIN´s pioneering composite piano [Re: accordeur] #2049913
03/17/13 08:17 PM
03/17/13 08:17 PM
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accordeur,
In looking at the top views I don't think the flare angle of A0 is great. The overstrung strings are at an extreme angle so the tuning pins end up far to the left for the low notes.


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According to NASA, 93% of the earth like planets possible in the known universe have yet to be formed.
Contact: Ed@LightHammerpiano.com
Re: Richard J. DAIN´s pioneering composite piano [Re: Wilhelm6] #2049922
03/17/13 08:41 PM
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I don't think we can fairly evaluate the sound off a hand held camera video...

Re: Richard J. DAIN´s pioneering composite piano [Re: Wilhelm6] #2049929
03/17/13 08:58 PM
03/17/13 08:58 PM
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Thats one beautiful piano there.Carbon Fibre? Wow interesting


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Re: "Black Power": Richard J. DAIN´s pioneering composite piano [Re: Wilhelm6] #2050124
03/18/13 08:44 AM
03/18/13 08:44 AM
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Of course the appearance is designed to show off the new material. If it was actually produced, it could be made to look like almost anything so I wouldn't let the appearance affect my opinion at all. It's a matter of taste anyway. I do not like the old incredibly ornate pianos that people salivate over at all. That does not make them bad. I'd love to see this in person.

I would like to hear a good recording of it though.

It sounds like a great idea to me and I wish them well.


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Re: "Black Power": Richard J. DAIN´s pioneering composite piano [Re: Wilhelm6] #2050433
03/18/13 07:38 PM
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Wow! I would love to see some designs like this hit the market.

While it may take a while for people to accept an entire composite piano, I'm thinking that case, rim, and top should be very doable. Most piano manufacturers (with the exception of Bösendorfer) like to point out how hard their rims are. So using a hard composite may be easy to make work for a rim....



Robert Swirsky
Thrill Science, Inc.
Re: "Black Power": Richard J. DAINs pioneering composite piano [Re: Wilhelm6] #2264952
04/21/14 12:51 PM
04/21/14 12:51 PM
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Young British pianist Oliver (OLIVR) POOLE posted some pics at Flickr (RCM @ Hurstwood Farm Pianos), and Richard J. DAIN communicated some news about the PHOENIX CF prototype (Progress on our carbon fibre grand piano - the Phoenix CF).

[Linked Image]





Re: "Black Power": Richard J. DAIN´s pioneering composite piano [Re: Wilhelm6] #2264954
04/21/14 01:02 PM
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Finally !!!

The perfect piano for a truly fitting performance of La cathdrale engloutie.


Marty in Minnesota

It's much easier to bash a Steinway than it is to play one.
Re: "Black Power": Richard J. DAINs pioneering composite piano [Re: Wilhelm6] #2264969
04/21/14 01:54 PM
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Im sure he will mature his design even further.

Re: "Black Power": Richard J. DAIN´s pioneering composite piano [Re: Wilhelm6] #2264970
04/21/14 02:00 PM
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Very cool, long overdue!


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Re: "Black Power": Richard J. DAINs pioneering composite piano [Re: LarryShone] #2264975
04/21/14 02:28 PM
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Originally Posted by LarryShone
Very cool, long overdue!

Just imagine if a cooperation would be with the like thought leaders, e.g. Stephen PAULELLO...

Re: "Black Power": Richard J. DAINs pioneering composite piano [Re: Wilhelm6] #2265114
04/21/14 10:08 PM
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Mark Polishook Offline
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I played that piano at Hurstwood Farm last summer. It 's an amazing instrument!

Re: "Black Power": Richard J. DAINs pioneering composite piano [Re: Mark Polishook] #2265192
04/22/14 06:46 AM
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Originally Posted by Mark Polishook
I played that piano at Hurstwood Farm last summer. It 's an amazing instrument!


Hello Mark

Could you please share your recollections on the touch and tone of this piano, and in particular, how any aspects of both compare to a "traditional" instrument made out of wood?

Re: "Black Power": Richard J. DAINs pioneering composite piano [Re: Wilhelm6] #2265209
04/22/14 08:13 AM
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Mark Polishook Offline
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Mark Polishook  Offline
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Joined: Nov 2012
Posts: 1,047
Leicester, UK
Miguel, I'll try to give you some further impressions. But in writing them down I'm realising it's not easy to explain. Because it really does come down to what any of us want to hear, feel, and see at the piano.

What struck me immediately is how much sound comes out of the all-CF instrument. It played very, very nicely and very very responsively. To the degree that when I was playing it I just said "wow!" The "wow" of amazement. The thing is, all of that gorgeous sound's coming out of a piano that looks like it's from the future. And the instrument is small - compared to a concert grand. So there's a lot of "awe" factor when playing it. In the same way if you've played a Steingraeber (or Phoenix) 168 or 170 those pianos produce much more sound (and it's gorgeous sound) than most probably think would come out of those instruments at that size.

W/that as background - comparing the all-CF instrument to a wood instrument is tricky. The reason I say that is because I didn't and don't have the sense that wood and carbon-fibre soundboards have their own distinctive sound. I know of course that some say they do ... so where anyone falls on that I'd say has a lot to do with personal choice and preference and probably too the specific instruments on which they've played.

I did play a bunch of pianos at Hurstwood Farm on the day I played the all-CF instrument. Some of them had CF boards rather than wood soundboards. At least one - the Steingraeber Phoenix 205 I purchased - had the Phoenix system but not a CF soundboard. And some of the pianos had Phoenix w/CF soundboards.

My opinion is what makes the significant difference in the sound and feel is the Phoenix system. I won't describe that here because excellent descriptions are on the Hurstwood Farm site and elsewhere on the internet.

The thing is, the Phoenix system brings clarity and sustain to the sound of the piano. But it's not clarity or sustain as in "this piano" is better than "that piano." It's just a handle to attach to the sound once it's been heard.

So, because I was there selecting (or trying to select) 1 piano from among 5 possibilities I didn't play the CF instrument with the same frame of mind I applied to the other 5. The "other" 5 were a Steingraeber 168, a Phoenix 170 (w/CF soundboard), a Phoenix 212 (w/CF soundboard) and a Steingraeber 190 - and the Steingraeber 205 w/Phoenix I ended up with. There was also a Steingraeber Phoenix 272 (w/o CF) I played there and a Bosendorfer Imperial Hurstwood Farm has available for on-premise recording and concerts.

For me, all of those pianos with or w/out carbon fibre were magnificent instruments. I mean MAGNIFICENT in the sense that the word "magnificent" needs to be capitalised! The all-CF instrument could easily go into any group of pianos including the ones I've just described and be a serious possibility as a final choice.

So that's why my opinion is it's the piano we experience as a whole rather than the one component or the other (wood or carbon fibre) as something that makes a really distinctive A/B kind of experience or comparison. The more pianos that go into the comparison pool the more, in my mind the A/B kind of difference between wood and CF becomes really of much less consequence. But that's my experience ...

Re: "Black Power": Richard J. DAINs pioneering composite piano [Re: Mark Polishook] #2265233
04/22/14 09:44 AM
04/22/14 09:44 AM
Joined: Jul 2007
Posts: 96
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Wilhelm6 Offline OP
Full Member
Wilhelm6  Offline OP
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Joined: Jul 2007
Posts: 96
Thank you for the impressive description. I didnt expect a such advanced stage of development so as to compare the CF prototype piano as early as with more traditional top-tier pianos w/Phoenix system concerning touch and tone. Quite promising!

Re: "Black Power": Richard J. DAINs pioneering composite piano [Re: Wilhelm6] #2265243
04/22/14 10:25 AM
04/22/14 10:25 AM
Joined: Oct 2013
Posts: 103
Quito, Ecuador - South America
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MiguelAngel07 Offline
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MiguelAngel07  Offline
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Joined: Oct 2013
Posts: 103
Quito, Ecuador - South America
Mark, thanks a lot for your detailed description. Based upon your experience, it seems that there may be production version in the not too distant future. Quite an amazing feat by Richard Dain and his coworkers. Congratulations are in order.

Re: "Black Power": Richard J. DAIN´s pioneering composite piano [Re: Minnesota Marty] #2265246
04/22/14 10:25 AM
04/22/14 10:25 AM
Joined: Mar 2009
Posts: 2,058
Conway, AR USA
bkw58 Offline

Silver Supporter until December 19, 2014
bkw58  Offline

Silver Supporter until December 19, 2014

Joined: Mar 2009
Posts: 2,058
Conway, AR USA
Originally Posted by Minnesota Marty
Finally !!!

The perfect piano for a truly fitting performance of La cathdrale engloutie.


Especially the finale. wink



Bob W.
Piano Technician (Retired since 2006)
Conway, Arkansas
www.pianotechno.blogspot.com
Re: "Black Power": Richard J. DAIN´s pioneering composite piano [Re: Wilhelm6] #2265258
04/22/14 11:10 AM
04/22/14 11:10 AM
Joined: Nov 2012
Posts: 1,047
Leicester, UK
M
Mark Polishook Offline
1000 Post Club Member
Mark Polishook  Offline
1000 Post Club Member
M
Joined: Nov 2012
Posts: 1,047
Leicester, UK
Wilhelm & Miguel - I believe they are now taking orders on the piano. But best to contact them directly - because they will have a definitive answer w/all details, etc smile

Re: "Black Power": Richard J. DAIN´s pioneering composite piano [Re: Wilhelm6] #2265288
04/22/14 12:52 PM
04/22/14 12:52 PM
Joined: May 2003
Posts: 1,796
Tennessee
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Ed Foote Offline
1000 Post Club Member
Ed Foote  Offline
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Joined: May 2003
Posts: 1,796
Tennessee
Greetings.
It would seem to me that this is a piano that Don Gilmore should consider for his self-tuning application, since it seems that the termination points might be non-conductive. That would be an impressive piano, one that isn't particularly moisture sensitive, and could tune itself
REgards,

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