Second Action for Steinway Concert Grand

[McNeilTom@aol.com]

In a message dated 98-12-10 08:27:25 EST,Michael Jorgensen writes:

<<    I recall Ken Sloan teaching in a class on how he built a second 
 action for a concert grand at Oberlin so that pianists could have two
 options of voicing with one piano.  What I want to know is, has anyone
 else done this?>>
 
Yes, about 20 years ago for a Baldwin SD-10.

<<  How much does it cost?>>

As I recall, the bill to the client (not a college) was in the neighborhood of
$3,700 then.  It would cost lots more today.  And somewhat more for S&S.

<<  Who did the keyset, keyframe, action rails etc? >>

Got them from Baldwin (Renner action, and - I think - German keyframe/keys).
I know that the same can be had from S&S for their pianos.  I have once
replaced a complete action on a D, along with the keybed!  They were damaged
dreadfully in a moving accident by the commercial movers.

<< Did both actions use NY hammers or other "genuine
 parts"?  How well did this work?  What unexpected pitfalls were there? >>

It's more complicated than you might imagine.  I can't remember whether Ken
Sloane posted comments on this.  Catch his class if you have an opportunity;
very informative even if you never get to do such a project.

<< Was Steinway willing to do this?  How much of the work could you do
 yourself? >>

The manufacturer will sell you the parts, but there is much fitting up to be
done: keyframe to keybed and cabinet components, then action frame to
keyframe, then build up the whole action in the usual way.

<< Where do you store it? >>

In the situation I mentioned, the client had a cabinet maker build a wonderful
coffee table with a 'keybed' and 'action cavity' duplicating the dimensions of
those in the piano.  A plate glass top was set at the level of the string
plane for the treble strings.  It was quite beautiful as well as functional.
The primary purpose of all this was to eliminate down time while an action was
being serviced, hammers replaced, etc.  The owner was a performing pianist of
sorts who had money enough for exotic things, including this project.

<< Has it made your job a headache in anyway, (i.e. artists making you pull
the action twenty times so they can make up their mind which one to use)?  >>

Not a factor in this case.  In fact, it made for an abundance of technical
work improving whichever action was perceived inferior at the moment!

<<This would make a great Journal Article.  
      I am seriously considering making a recommendation to do this given
 that artists can't agree on how bright a piano should be, and we have
 one D which must please all.
 Thanks in advance
 -Mike Jorgensen RPT
 School of Music, Central Michigan University.  >>

Mike -  Have you talked with Owen [Mike's father] about this?  It seems to me
he was among the first to advocate this approach, although I don't know that
he had an opportunity to try it.

Best regards,

        -  Tom McNeil  -
Vermont Piano Restorations