It looks like a broadwood ... see I can do it too. 🙄

i don't see how a cross hatched thread would be useful because essentially it would end up being more like a file, so any microscopic threads that would be cut would be simultaneously filed down. it makes me think that the threads were turned clockwise then turned counter clockwise. haven't seen pins like that yet, but i'm only a beginner. friction is key, but also i imagine you want the pin to consistently move towards the board even though it would be jumping threads anyway, especially since it's tapered and can't really screw all the way through the board. curious stuff, thanks for these videos on your research.

Clips are tricky with time. Did you soak the glue of the board in vinegar? For how many weeks?

how much time do you take to dry and season the wood before you continue the work?

How do you make the supports on the press for gluing the ribs? Presumably the rib supports are made custom for each soundboard you recrown? How do you determine how much crown to introduce?

how did you get started rebuilding pianos?

How did you unglue it, please???

Do you have the rest of the film from this rebuild? I’d love to see the rest of the restoration, as I’m currently working on a similar project for a Steinway upright from 1916

Interesting video, keep'em coming!!!

What Graphite do you use for those parts also what size is the graphite (microns) do you use and where do you get it from

Do you have an email or some way I can contact you to ask questions? I’m restoring an upright from 1885 that has a shrunken soundboard and has little to no crown and no downbearing. Customer doesn’t want a new soundboard or bridge so I need to recrown. Looking for expert advice.

I'm in aw but at the same time I think it's really ugly (sorry...).

6-oct? I have what appears to be the same model, tho from 1846. Still in the restoration queue... My veneer isn't as impressive-possibly due to refinishing. I'll have to take a closer look.

Would you consider the hammerheads as being original or even replaced by original-like ones? According to my techinician the originals would have been at a straight angle (with no “Stielschräge”) but I never saw that in a vintage Steinway. He replaced the hammerheads in my model R for really small ones, mounted at a 90degree angle to the shaft. I’m not happy with the sound at this moment (hammers are new from Abel) and I wonder if it has to do with the weight of the hammerheads. All the brilliance that the piano had before (the “Steinway sound”) is lost!

Your video prompted me to experiment… Here’s another way to get the bushing cloth into the balance rail mortice slits on both sides at once. kzbin.info/www/bejne/r6OTkoaBiph-i9Esi=SPVep14ZnbQE0coI

Name of the key cloth bushings???

Excellent information, thank you. I’ve just obtained a 7’ 1901 Aliquot like this. Needs a fair bit of work and this gives me a great starting point!🙂🍃

There were a few English baby grands made this way. I've seen a Challen, around 4 foot 6, and iirc a barless Broadwood (no reinforcing cross struts on the frame, all the load taken by the frame rim.)

КОЛУПАЕВ ПОРВЕНКОВ ВИРБЕЛЬБАНК ПИАНИНО

Thank you for your contribution!! is very good! :), a question about the red round felts on the front rail, are the white discs also felt or paper punchings? That is to say, can I also use one felt disc on top of another to increase the thickness if I don't have the thickest felt? For the correct height of my piano I had almost 4mm of punchings plus a 3mm felt disc, but the blow felt more wooden. Is it better to level it again like this or put a 6mm felt disc plus a millimeter of punchings? Thank you :) . I am a non-technical pianist, greetings from Germany.

Re the "two-action" square, yeah, that was typical. I have 1812 & 1838 English squares, and they are both like that.

It is very Blüthner-like in many details, but Klemm is unlikely to be the maker. The medallion says "Magazin," so it's a dealer. At that time, around 1870, a builder would never have been distributed over the three major cities in Saxony.

It sounds like there's a helicopter in the background lol

Thank you. I just got an early 1863 Steinway that my tech believes is an early Steinway design that's closer to the English Brown action than the Erard.

Do you have more sound video’s of this one?

this is a fascinating process. my pin block will need this kind of treatment soon. very insightful to see your process.

Ive always wondered why people don't reinforce those old design pin blocks like you're doing.

Nice work! Thanks for sharing.

Play it and let us hear how it sounds. I have a bluthner grand 6/3.

I feel your pain with that pin block. I was doing some work on my 1888 knabe and was shocked at the incompetence and general lack of attention to detail done on some of the previous repairs.

Left us dry with the Mason and Hamlin build from years ago...

what a fascinating process. thanks for sharing.

at what point would a soundboard be considered a total loss and not possible to recrown? I have a 19th century piano that needs soundboard repair and I would like to keep it original, but I also understand that at some point, the cell structure of the wood collapses and there's nothing for it.

Interesting action. It looks like it would be difficult to remove a key.

What is this silica that you are using?

the tuning fork is not the same as a vibrating string. yes adding stiffness produced nice overtones on a tuning fork meant to vibrate primarily at a pure frequency. yes having a well designed and implemented soundboard will sound best. however a "flat" soundboard can still produce overtones from the vibrating string and one might even argue a truer representation of the actual string. this is the case with solidbody guitars: they add little if any overtones beyond the string vibration. in contrast semi and full hollow body guitars act like this tuning fork and add more tonal color. Ask the great les paul which one he preferred. just my thoughts from a guitar perspective. thanks for the video !!

I recognise that voice. You're the man who made the video about Blüthner aliquot.

What did you end up doing with the iron wrapped strings?

wow this instrument is a time capsule! I'm certainly glad piano technology has improved if only for the fact that pianos are so much more modular today - I cant imagine how expensive it would be to to a full rebuild on that instrument - replacing the soundboard and pinblock given how integrated both are in the case.

man old harp castings were pretty back in the day

Es buen video. Lástima que no se vea bien la maniobra de amarrar y subí el piano

Older than all of us and isnt in bad condition!

What ever happenned to the Chickering?!?!? Wanna hear it.

An outstanding work!

It sounds great.

Just get someone that knows how to voice the hammers and it should be ok. I hear unevenness across the compass, hammers out of phase, hammers sound closed and need to open up a little. Some notes have a quick decay. There were a few pretty notes that could be used as a jumping off point.

you need to play it

I changed the tubes on my Steinway from 1909 for new ones. It works just fine. They're the same. At Steinways they don't care much for historical piano's. They made a huge bonfire with their table piano's that they collected. They wanne sell new ones, you know. One issue I had with the tubes is that the largest ones are from the D model. They are a little to short for my R. But that wasn't a problem.

Obviously the soundboard was not permitted to dry to the optimal humidity level before being installed

So much for the "Tension Resonator"