Piano World Home Page Forums Our Most Popular Forums Piano Forum Our "Franken" Stein adventure begins...

In the name of all that is holy, what is that thing!?! Its like someone grafted a keyboard and spindle legs onto a 1930s jukebox!



Oh dear god, no! It can't be!!! Have they no decency?



OMG, this unnatural assemblage of parts is... ALIVE!



Those who saw my earlier thread, know that we ended our Quest for the $500 Piano with an 1874 Steinway Early Large Scale "mirror" piano. We were looking for something with a colorful character and a nice sound on a shoestring budget. A piano the family could "play" and that I could indulge my fascination with the intersection of mechanics and artistry that a piano is.
https://www.pianoworld.com/forum/ubb...t%20for%20the%20%3C$500%20piano%20/.html

We of course opted to move it ourselves, which was certainly an adventure. 6 guys, a rented trailer, borrowed pickup, dollies, straps, blankets and 5 hours later we finally had it home in one piece. And no one even went to the ER!

So far I've removed the action and keys to give a thorough looking over and cleaning, and managed to have it all still work when I got it back together. I give full credit to Reblitz So far we're loving it, its exactly what we had hoped having a piano in our home would be

You can see photos of the disassebly and cleaning here:
http://www.flickr.com/photos/80357289@N00/sets/72157632674246913/with/8440915338/

My tuning hammer, balance rail felts, replacement string, and misc other bits are arriving today, now I should be able to do some real damage

Rob

Congratulations!

I like old uprights, and yours is a beauty (relatively speaking), and a Steinway to boot...

All the best,

Rick

This was a common alteration to many pianos of same vintage.
Saved spending more money on room mirrors.
Luckily what counts is 'inside'....
Enjoy!
[including mirror!]
Norbert

Looks like a 3 bridge Steinway Upright.

I like it! He more photo's the better.

BTW, here in e Boston area we have a ton of these mirror pianos. Folklore has it that the fellow doing it lived in this area somewhere.

I have no direct evidence.

well .. I have personally seen a dozen or so of these ... all makes, no particular order.

Very enjoyable Flickr album with interesting notes. It is fascinating to see all the odd repairs that have been made, like the "fred flintstone" sticker repair and the knot in the string.

I wonder if one of the reasons people put a mirror on the front of uprights is so that the piano player could see what was going on at the party/dance/box social behind him/her.

My boys and I have decided its so you can tell if Ninjas are trying to sneak up on you while you are playing

That's correct. There are 20 strings in the bass section on a straight offset bridge, 9 notes on a transitional "return" bridge, and then the remaining 59 are on a continuous curved bridge. I'll have to add a picture of the whole bottom section, looks like I left that out. I thought it was interesting that this model used agraffes for the top 59 notes, seems fairly unique in an upright.

Based on the info below from the "Official Guide to Steinway Pianos" this seems to have been a 56" "Early Large Scale" 1b, the first 88 key large scale upright which lead to the Model G. Its interesting that this CF Theodore Steinway scale design seems to have been the last large scale designed from scratch, with later large scales being scaled up from the medium scale designs. The G seems to have been basically the same as this one, but with a capo bar replacing the agraffes. Looks like the earlier Henry Steinway Jr Upright scales had used agraffes through out, and this was the last one to still use them.

Official Guide to Steinway Page 16

Rob

Part of the fun of going through this old piano was finding all the little notes and inscriptions added over the years. A number of the keys had names on them, presumably of people who had worked on it over the years or even been involved in the original production. There are two tuners notes on the pinblock from 1924 and 1977. Hopefully it was tuned a few more times than that



This note occupies the "place of honor" on the outside of key 88. From what I gather Leiter Bros was a large dealer in Syracuse in the late 18 and early 1900s. They apparently were the original publishers of some of Scott Joplin's songs. From the location I'm guessing they were the original sellers of the Piano, but its hard to know for sure. Its always possible they just resold it or even were the "mirrorizers".



All of the removable parts still have chalk notations with "Steinway 29178", presumably from the last time it was all apart for major work. May very well have been when it was mirrorized? Interesting to see what I assume was the original wood finish on the back of the knee board.

Coincidentally, there is another 1874 Steinway upright for sale locally that probably looks a lot like this one would have.



http://tucson.craigslist.org/msg/3579762268.html

Not sure if you've already done this...but you can contact Steinway, and for a fee, they will send you all the original information they have on your piano.

Was the case refinished at one point? It looks in amazingly good condition considering its age.

Its very Art Deco styling...

Yeah, we actually quite like its rather unique deco look. It fits much better into our 50s era home than the more ornate dark wood Victorian look would have. Only probably 1/2 of the case is original wood. The sides and quarter round pillasters, front half of the top (re-set below the mirror box), fall board, keyslip, name board, and knee board (apparently re-used in reverse unless the inside was typically finished) seem to be original and have been coated with some sort of veneer or something synthetic. The top half front facing board and top box, cheeks, and whole front leg assembly seem to be replacements with the bench legs replaced to match. Most of the replacement wood seems quite solid, though the box around the top behind the mirror is very thin plywood, reducing the overall height from 56" to about 54".

The longest bass strings are about 60", with a 52-53" speaking length. Its interested that the single bass strings are copper wound, while the wound bi-chords and tri-chords are steel wound. I'm wondering if thats original, or an indication that at least some strings were replaced at some point.

I know that in many mirror pianos the quality of work and condition of the core may have been poor, but this one seems to have been done pretty well. The family we bought it from had acquired it in 1915, which seems pretty early for this kind of make over, so rather than a typical dealer doing the makeover to resell I wonder if this one wasn't actually commissioned by the owners in the 20s or 30s. Its deco look seems like it would have been going out of style by the 40s/50s.

Rob

Thanks Eric, I haven't done that yet but intend to. Whatever they have will certainly be another interesting piece of the puzzle

The S&S records search and info provided has a $25 fee. However, it is a nice presentation and will answer many of your questions. It is compiled and sent very quickly.

BTW - You can also request a subscription to Steinway & Sons Magazine. There is no charge to Steinway owners.

Replaced my first string tonight. Piano gods saw to it that I had the opportunity for some extra practice. Its funny, I can remember thinking in all those threads, "what kind of idiot would put the hammer on the wrong pin?" Well apparently this kind of idiot. The very first thing I did with my new tuning hammer was turn the wrong pin and break a string

All better now, already pulled each up to about 1/4 tone sharp 2-3 times. Hopefully they'll settle down a bit before our party Sunday



I thought the beckets came out surprisingly ok! Definitely need to pick up a stringing hook though, was a major pain using a screwdriver and the rounded back of some needle nose pliers.

Rob

Well, Rob, your beckets and coils certainly look neater than the neighboring ones...

Nice album, with humorous comments!

[Edit 1: and I see no reason that the spliced bass string wouldn't hold. The knot is correctly done.
Edit 2: I'm not with yahoo, so I can't log in. But the name on the key is definitely "Rupprecht".]

Interesting thread, miscrms, and nice photos...

However, you might want to be careful how you brag about your amateur piano tech skills here... the pros, will pounce all over you.

Some will offer constructive criticism in an effort to help and others will chime in just to let you know who the real pros are.

Some advice from another amateur, wan-a-be piano tech… always turn the tuning hammer slightly counter-clockwise first to make sure you are on the right tuning pin. I haven't broken a string yet from tuning, but I have from hard playing.

By-the-way, your first string replacements looks great in the photos!

Rick

Thanks Rick! Appreciate the advice very much. I know my excitement can get away from me, but I hope it doesn't come across as bragging. That's certainly not the intent. If anything this experience has already given me a whole lot of respect for anyone who does this work well, and still quickly enough to actually make a living doing it. It probably took me 3 hrs, which of course wasn't helped by having to do a whole second string

Rob

After replacing the string, I found that the volume was very soft on this note which was a big surprise. The hammer had been grooved more deeply from just hitting one string for an extended period, but I had incorrectly assumed that once the string was replaced even it only struck two strings now instead of one its volume would increase. It actually seemed softer now with two strings!

After some excellent advice received over on the tech forum, the issue was apparently that the extended playing with one string not only compacted the felt on the one side but effectively softened it on the rest of the hammer. So now the soft part of the hammer was striking the new strings, resulting in the very soft volume.

With more than a little trepidation, I set out to file down the hammer to even it out. I did this very slowly and cautiously, trying not to take off any more material than necessary while working in an arcing motion from the shoulders toward the strike point with an even number of strokes on top and bottom to try and preserve the shape of the hammer. Happily this made a huge difference, and now the note sounds very similar to the ones around it. Its still not quite hitting the third string fully, but I've decided for now not to take off any more material in hopes that it will even out the rest of the way from playing.

Here's the hammer (in the middle) showing the deeper groove on the left side:



and here's the top and profile views after filing:





A little scary, but it seemed to come out pretty well! It probably took me about an hour to do this one hammer, which makes me think eventually doing the other 87 will be a bit time consuming

Rob