The Atlantic Monthly, Volume 20, No. 117, July, 1867: A Magazine of Literature, Science, Art, and PoliticsVarious
General
The Atlantic Monthly, Volume 20, No. 117, July, 1867: A Magazine of Literature, Science, Art, and Politics
Various
American periodicals
When the case is finished, all except the final hand-polish, it is taken
to the sounding-board room. The sounding-board--a thin, clear sheet of
spruce under the strings--is the piano's soul, wanting which, it were a
dead thing. Almost every resonant substance in nature has been tried for
sounding-boards, but nothing has been found equal to spruce. Countless
experiments have been made with a view to ascertain precisely the best
way of shaping, arranging, and fixing the sounding-board, the best
thickness, the best number and direction of the supporting ribs; and
every great maker is happy in the conviction that he is a little better
in sounding-boards than any of his rivals. Next, the strings are
inserted; next, the action and the keys. Every one will pause to admire
the hammers of the piano, so light, yet so capable of giving a telling
blow, which evoke all the music of the strings, but mingle with that
music no click, nor thud, nor thump, of their own. The felt employed
varies in thickness from one sixteenth of an inch to an inch and an
eighth, and costs $5.75 in gold per pound. Only Paris, it seems, can
make it good enough for the purpose. Many of the keys have a double
felting, compressed from an inch and a half to three quarters of an
inch, and others again have an outer covering of leather to keep the
strings from cutting the felt. Simple as the finished hammer looks,
there are a hundred and fifty years of thought and experiment in it. It
required half a century to exhaust the different kinds of wood, bone,
and cork; and when, about 1760, the idea was conceived of covering the
hammers with something soft, another century was to elapse before all
the leathers and fabrics had been tried, and felt found to be the _ne
plus ultra_. With regard to the action, or the mechanism by which the
hammers are made to strike the strings, we must refer the inquisitive
reader to the piano itself.
When all the parts have been placed in the case, the instrument falls
into the hands of the "regulator," who inspects, rectifies, tunes,
harmonizes, perfects the whole. Nothing then remains but to convey it to
the store, give it its final polish and its last tuning.
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Elsewhere in the archive
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account