Geo. Steck upright

[Delwin D Fandrich]

----- Original Message ----- 
From: "David Melis" <pianotunings@juno.com>
To: <pianotech@ptg.org>
Sent: November 03, 2003 11:23 AM
Subject: Geo. Steck upright


> Hello!
>
> As a first-time poster, new tuner, and total novice in the art and
> science of piano technology, I have been dutifully taking in all the
> wisdom, advice, and experience that the many regular contributors to this
> list have to offer.  Thank you for all that I have learned and all that I
> will learn.
>
> This last weekend I tuned a full-size Geo. Steck upright, vintage
> 1910-15, if the piano tech who last worked on it is correct.  (I did not
> make a note of the serial number, regrettably.  From what the owner said,
> the piano tech who dated it based his/her age estimate on the fact that
> the bass strings are wound with what appears to be steel rather than
> copper.)

Probably pure iron, as was quite popular at the time, and well into the
1920s.


>
> In any case, many of the pins were very loose, and as I'm
> tuning it I'm seeing that the pinblock is riddled with cracks, which of
> course helps to explains the looseness.  It took two hours to get it as
> good as I could, and not until I got home and was thinking about it did I
> realize -- duh! -- that I have never before seen a piano where the
> pinblock was exposed and not covered by the plate.  How interesting!
>
> Does anyone know whether this is how the piano was actually designed?
> And if so, do you have any idea why?  I would love to know more.

Yes, this is how the piano was designed. In fact, you should be able to
pull the strings off the piano and remove the pinblock without going any
further into the structure by simply unbolting it. Of course, while you
have the block out you may want to turn the piano around and pull the
soundboard assembly out of the back of the instrument, again by simply
unbolting it. It should be bolted separately to that beautiful plate. And,
if memory serves you should not have to disturb the casework at all during
this process. Well, except for the front top and bottom boards. And maybe
the pedal board.

What you have here is a potential jewel. A friend (and former apprentice -- 
Steve Ganz) called me several years ago to describe one of these and ask
what could be done with it. I helped him out with some design services and
he did the rebuilding work in his shop (Portland, Oregon). The results were
astounding -- he also had a freshly rebuilt Steinway K (same height) in his
shop. There was no comparison. This is not a piano you want to condemn to
the demolition derby.