>>Think "new piano standard." What do you expect to find in the most complete rebuild? Beyond just new components, new soundboard, keyset, backaction etc. etc., what do we consider a first-rate job? It could be something small like refelting the sostenuto hole, or perhaps actually finishing the job with a thorough regulation and voicing, rather than saying I'll finish it in the house when it settles in...like I've ever done that! ;)
Greetings,
There are a number of small things that can make a difference in the experience. Picking the optimum firmness of front punching, as well as making the paper stacks under them as alike as possilbe, (15 blue punchings don't feel the same as two .060 cardboard ones). The pedal stops have their own nature. The block of felt that stops the trapwork's travel can be felt in the damper pedal. A new, resilient block feels different than an old hard one. Same with the una-corda pedal, hard stop or something slightly cushioned?
Inside edges on the naturals' key tops need to be really closely checked, as I have found one or two sharp corners on otherwise fine looking jobs. Aftertouch brought to consistency by altering keydip AND blow, (time consuming and noticeable only to the very few, but still, something we can do).
examine the leading radius on the jacks to see that they are all the same as sharp ones don't escape like rounded ones. I like to burnish all mortise edges with a very slight convex profile so that there is no 'edge-snagging' with the knuckle that gives a false impression of spring strength. I also burnish new parts.
Following Chris Robinson's example, I now pre-weight actions after I get them first assembled and rough regulated. I do this by establishing a straight line of shanks at least 1/4" higher than final blow and laying a 2X2"X50" piece of maple board across them for several days or a week. This gets a lot of the initial capstan and knuckle compression done so that the regulation it goes out the door with has some chance of staying for the first year or two.
Regards,
Ed Foote RPT
Original Message:
Sent: 7/13/2024 7:15:00 PM
From: Parker Leigh
Subject: RE: Contemporary Standards for Piano Restoration
Another point, all pinblocks should be carefully fit in all three dimensions with special attention to the plate flange and blind dowelled to the rim
and stretcher. Sealed and varnished prior to drilling. Tolerance: .001
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Parker Leigh RPT
Winchester VA
(540) 722-3865
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Original Message:
Sent: 07-13-2024 08:04
From: Parker Leigh
Subject: Contemporary Standards for Piano Restoration
Use the best parts available. In working on older pianos watch out for heavy hammers. Do not neglect keyset and keyframe. Zero pulley keys, mortise
sizing cauls and hot cauls using hot glue or Jahn pre-glued cloth and hot cauls are best. My pet peeve: naked soundboards. I use Benite sealer, shellac
and marine varnish. Pre-loading is good practice especially on larger boards.
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Parker Leigh RPT
Winchester VA
(540) 722-3865
Original Message:
Sent: 07-12-2024 18:59
From: Jude Reveley
Subject: Contemporary Standards for Piano Restoration
Dear Esteemed Colleagues,
I am turning to this wonderful resource of people for assistance. I am teaching a class at this upcoming convention called Contemporary Standards for Piano Restoration. This class was first inspired by a conversation I had with Larry Fine prior to the publishing of Practical Piano Valuation, co-authored by Steve Cohen, in which he asked how much rebuilding added to the value of a piano. The obvious question that comes to mind is what do you mean by rebuilding? The second impetus for this class is to address the whole "Steinwas" debate and whether a rebuilt piano could be as good as a new one.
I am seeking feedback from any and all of you. Think "new piano standard." What do you expect to find in the most complete rebuild? Beyond just new components, new soundboard, keyset, backaction etc. etc., what do we consider a first-rate job? It could be something small like refelting the sostenuto hole, or perhaps actually finishing the job with a thorough regulation and voicing, rather than saying I'll finish it in the house when it settles in…like I've ever done that! ;)
If you have something special that you do or know of, I would also be interested in that, short of completely sharing any proprietary stuff, although that's cool too. For example, I have my system of preloading the board with the exact amount of string pressure while I am setting bearing.
Beyond this class, I am looking to continue this research, and if there is value, I will share the research here or perhaps in the journal. Please feel free to share your thoughts here or you can email me privately at jude@absolute-piano.com. If you have any pictures to share, that would be wonderful. Let me know if I have permission to use these and they will of course be fully credited.
As always, much appreciation to this wonderful group,
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Jude Reveley, RPT
President
Absolute Piano Restoration, Inc.
Lowell, Massachusetts
978-323-4545
www.absolute-piano.com
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