Piano Restoration

Steinway & Sons Piano Restoration

One of the most common and most important action in piano rebuilding today is the misuse of heavy hammers in vintage Steinway pianos. The hammers were used predominantly Japanese in 1980, are substantially heavier than the current special order Renner Premium Blue hammers that we use for most vintage Steinway and Sons pianos.

It is not unusual for us to see newly restored Steinway piano shares with down-weight measurements 90 grams, and measures to up-weight of only 10 grams. In addition, many technicians will try to compensate these poor performance numbers with the addition of 6, 7, 8 or sometimes even leads to a desperate attempt to improve the touch of the piano. This is futile exercise that only makes the situation worse.

And current specifications call for Sons Steinway piano hammers hanging on the stem at 51 / 8. "Vintage Steinway actions have hammers that hang anywhere from 5" to 51/16 "on the foot. Here, a 1 / 8" difference would be drastic if not corrected properly! In fact, the last couple of octaves above the floor are the most crucial for positioning the hammer. Our hammers are hung according to the best possible sound product, in relation to optimal positioning of the first action plan and stern. "Pre-hung" on shank hammers available from the factory do not work properly in most of the old Steinway and Sons pianos.

For years, the first vintage Steinways, the action parts were dipped in paraffin oil to act as a preservative for wood. This explains the dark color of the vintage Steinway shares. A drawback of the immersion solution is the chemical reaction with the centerpins and all moving parts, resulting in what is known as verdigris. This Verdigris centerpins tires on and heard (the green patina shown in close-up), and results in some parts of slow. This is one of the biggest problems with Steinway pianos. There are no permanent solutions for this condition other than replacing the defective parts with new parts.

All our pianos include Steinway and Sons rebuilt replacement agraffes. Agraffes are brass, and if they were too tight at the factory, which will eventually break. This has sometimes 70 years, but it will happen! However, no new agraffes clean only look nice, but contribute to a better tone in the piano. The steel wire passing through the agraffes is harder than bronze, so that eventually deform the circular holes making them oval.

Together with the replacement of agraffes, bar Cape deposit is necessary to remove the old string grooves, and to make sure that the profile of the bar is in its best shape. This is one of the most overlooked steps in the "wholesale reconstruction plan" to end this industry.

In order to get a feel for the constant action, rebushing keys is a crucial step in the process of restoring a piano. Only the highest quality materials and installation processes felt are used for a perfect result.

Polishing is a piano key covers maintenance necessary to restore luster to both plastic and ivory keys. selection Rouge, polishing wheel selection, and wheel speed are important factors in achieving perfect results.

dip correct key is essential for the pianist to be able to play the softest pianissimo to fortissimo stronger. Key dip can also be set to the preference of a customer to reach the action "feel" they prefer.

Piano Rebuilding

Piano Rebuilding

The reconstruction involves a complete restoration of each area of the piano, including the replacement of structural components, the pieces of action, restringing, etc. A piano finish that is reconstructed in the true sense of the word should have complete replacement of all parts that are worn out, in questionable conditions and / or structurally sound. Pianos contain thousands of parts. This is the reason for the complete restoration is rarely done and the costs are prohibitive.

reconstruction piano of stores to use the approach that the old is better. "I just do not build them like once." Fortunately, the car manufacturers do not build cars the way they use both. Sure, there's something to be said for the "mystical" to pull out that old '55 Thunderbird on a sunny afternoon on Sunday and take it for a spin. This is exactly the feeling piano rebuilders use to their advantage. However, no one in their right mind would go to an auto salvage yard, choose a rusty old Buick, all have processed and painted body panels, install new interior, new engine, transmission, rear, new tires etc. and in the process of spend more money than the cost of a new car! Or would they? Perhaps they have an undying love of old things or a strong sentimental attachment to something that means a lot to them. Maybe they just have a lot of money to burn.

As a practical matter, it's just stupid to spend money trying to make that old piano "new" again when it might be more wisely invested in a new quality piano. This does not mean that all old pianos should be trashed. Sure, there are rare occasions where an old piano can be beautifully restored to "like new" condition by highly skilled craftsmen. Some of the charm of old pianos are uniquely decorated lockers details specific periods of history that many of the manufacturers not only offer modern pianos. For those with big pocket books which have fascinated and infatuated with the past, a quality of rebuilding an old piano can be a wonderful thing. However, be prepared to spend much more of an instrument completely rebuilt as it could spend for the best quality new piano of comparable size!

Remember, the reconstruction of a piano in every detail without compromise is rarely, if ever. A museum piece, but maybe for the average customer looking for a tool rebuilt compromise somewhere in the reconstruction process is inevitable.

For most of us, buying a rebuilt piano is not only practical. A frankly, only a small percentage of old pianos actually meet the criteria that must be met to consider a complete restoration. old pianos that can be made useful for lessons or pleasure at a minimal cost should be kept in the market. The vast majority of pianos in need of extensive repair, regardless of brand, should be treated like garbage and are disposed of.

Indisputable scientific facts support the superiority of new pianos of good quality compared to the old instruments rebuilt. Consider this: virtually no major college or conservatory of music associated with a large university buy rebuilt pianos. Many of the larger institutions to maintain a technical staff to optimize and fix their concert and practice pianos. Some of these tools can have a series of hammers replaced or get a new set of strings. In general, as these repairs are made as of the intermediate when the year's budget does not allow the purchase of a new instrument. In almost every case, when a piano institution needs a complete rebuild that require major, expensive work, a new piano is preferred.

Periodically, the universities have "cleaned house" of all their pianos unsatisfactory. These instruments are traded in and also purchased by piano tuners, which then "reconditioned" or partially rebuilt. The institutions that use pianos for practice and work together to find tools rebuilt impractical and rather buy again. It 'obvious that the same logic applies to the average customer.

At least, if you are considering buying a piano rebuilt or are thinking about having Gramma's old piano fixed up, get everything in writing! Having your piano technician step through each phase of the reconstruction process. Have he or she will show you first hand exactly what will and will not be done. Looking more closely at what parts are replaced as well as what the trade-offs are in progress, you may find yourself reconsidering! Especially when you see that bottom line!