The pictures show just a small selection of different jobs executed in our workshop.

If every aspect of a restoration were shown in detail, the page would be too extensive.

It is our custom to discuss with a potential customer what is involved with their project.

We love to answer questions, no matter how many. This ensures that every thing is well-understood and unpleasant surprises are less likely. By the same token, if an uncertainty exist on our part, the customer will be contacted for feedback. We are proud to say that we can boast many happy customers. Some of them use their instrument for performance and/or teaching. See the page “Pianists who played our restored instruments in concert” 

Upon request, a portfolio with references will be send to potential customers. See also the page “Quoting & Pricing” for more information.

 

A newly arrived stack of white spruce for new soundboards. The heavy pieces at the left of the stack will be used for soundboard ribs.

Both, Sitka Spruce and White Spruce are used in our shop, depending on the kind of project.

All soundboards are made from scratch by us after the wood has been dried to the lowest possible moisture content.

 

 

Sitka Spruce boards are laid out over a thirteen year old ESTONIA concert grand, observing a 47 degree angle in relation to the straight side of the piano.

This piano was made by the Estonia firm during the period in which the country of Estonia was still part of the USSR.  Materials and workmanship were not up to the best European standards of the time.  Renovations and modifications have been made which make the instrument much more valuable and successful in every respect.
 

Here is a section of the new ESTONIA soundboard. Notice the new decal and also a newly installed multiple ply Eastern Maple pin block. The old one had only three plies and had already developed some cracks.

 

New bridge caps for the ESTONIA also. Here the bridges are being notched.

A newly made soundboard for a 1906 GAVEAU concert grand.

 

A newly made soundboard for an 1894 BECHSTEIN grand piano.

 

Notching the bridges for a 1894 BECHSTEIN grand piano

 

The bottom side of the soundboard of a circa 1785 HENRICUS HOLLAND Square piano. For antiques like these, it’s of the utmost importance to salvage the original parts of the piano. This soundboard was re-installed, but with new ribs.

Notice the odd shape of the ribs in comparison with modern ones.

Suspensions have been cut at the spot where they cross the bridge on the other side of the soundboard.
 

The new and old ribs for the HENRICUS HOLLAND square piano.

 

Cabinet repair is often necessary. Here we see a new candle holder stand being copied from an existing one belonging to an 1801 WILLIAM ROLFE square piano.

When no examples are available, new ones have to be designed according the style of the period.
 

Making a new pinblock for an 1859 ERARD grand piano.

These pinblocks are mortised into the piano’s case. It is usually advisable to make a new pinblock section and install it on the rest of the existing pinblock, rather than cutting into the burled walnut piano case and removing the old pinblock.Here we see the new section being pre-fitted before it gets glued in place.

 

Clamping a new pinblock section in an 1859 ERARD grand piano.This pinblock section has to be very well bonded. Therefore many heavy-duty bar clamps need to be employed. Some heavy screws will be installed to ensure long term stability.

 

New bushing cloth being installed in the damper guide rail of a BECHSTEIN grand piano..

Since the cloth bushing  wears out most at the front and back of the hole, it’s essential that the joint of the cloth is located at one of the sides of the hole where pressure is the least. This ensures a very long lasting bushing.

 

When in rare circumstances a key frame becomes warped  and  makes noise  when played hard, it is best to make a new key frame. As with many other things which need to be made or copied for a given piano, this is precision work. This key frame belongs to a BECHSTEIN grand piano of 1887.

 

This Heintzman & Co. upright piano is ready to have a new sound board installed. Because this is a tall upright piano, its strings are about as long of those of a mid-seize grand piano.
Many pianists don't have room for a grand piano. A tall upright is then the solution when the same sound quality is desired.

 
Several times it happens that an incomplete early piano arrives in our shop. This can relate to action or furniture parts.
Such was the case of a 1854 Chickering square piano. The lyra and most of the wooden levers that operated by the pedals were missing, as was the moderator for the "soft" pedal.
It is not always possible that the same piano is at hand to see how the missing part(s) look like.The next step is then finding pictures.
A book on early pianos shows a "carbon" copy of this Chickering. It's in the Boston Museum Of Fine Arts.
Fortunately it was quite easy to copy the lyra. The proper dimensions were calculated. Then wood was glued and clamped together to cut the lyra from.
The pictures show the carvings on the lyra after it was cut to shape

 
Then ready to be finished to color match
The new levers for sustain pedal and soft pedal. In this case, a so called moderator which consist of a wooden strip with soft pieces of leather attached, is inserted between the hammers and strings if the pedal is pressed down.

 
This moderator can be seen on the fourth picture. It was missing also and had to be made by trial and error, but knowing how it should look.

 

The fifth picture shows the piano finished and playable.