Theory and Practice of Piano Construction / With a Detailed, Practical Method for Tuning

by William Braid White

The tapes must be adjusted so that they begin to exercise their pull when the hammer is started away from the strings. They must not be strained too tight, but should be left just a little loose, so that when the soft pedal pushes the hammers towards the strings the abstracts or dowels do not at once leave the keys.

The dampers are adjusted, as to position, like those of the grand—that is, they must lie square on the strings and be in a straight line with one another. Their movements are directed by the spoons and these must be so bent that the damper begins to move when about one-third of the angular motion of the key has taken place. When actuated by the pedal, they must fall against the back of the hammer spring rail, which is felted for the purpose, and their motion must be instantaneous when the pedal is depressed. The pedal mechanism is concealed behind the bottom frame of the case and will be found to be precisely similar to that of the grand, except as regards the mounting and pivoting of the levers. These must be kept lubricated with graphite and tallow to prevent squeaking. The connection of the soft pedal with the hammer rail must be close so that instantaneous action results when the pedal is operated. The motion of the pedal may push the hammers one-half of their stroke length towards the strings, not more.

The leveling of the keys and the regulation of touch have already been described; nothing further need be said except that these operations are more easily performed in the upright owing to the open way in which everything is set in.

It is unnecessary to go further into detail in regard to the regulation of actions. Enough has been said to lay bare the general principles, and, as was stated before, the rest comes from experience only. A text-book can never replace an apprenticeship, but we cannot deny its value in laying down correct principles for the man who wants to know how things should be done.

As a fitting conclusion to the present discussion, we may now note the order of the various processes which combine to make up the manufacture of a pianoforte, from the cutting of the lumber to the final tuning in the wareroom.

The various kinds of lumber that are to be used are exposed, after cutting and rough dressing, in a lumber-yard. Here they remain from three to ten years according to the kind of wood and the degree of care that is taken by the manufacturer. The best makers take the greatest care in seasoning their lumber.

The first operations to be considered are those of the saw-mill. Here the rough work for the case-making is done, and the moldings for actions and cases are turned out. The rough cases are then sent to the case department and made up into shape. The bent rims are there glued together for the grands, and the sides and frames of the uprights are shaped. The back framing, wrest-planks and other parts of the case and back construction are also put together in the case department.

In the meantime, the machine work has gone in the rough from the saw-mill to the “action department,” where it is cut, shaped and made up into the delicate action parts. These have to be leathered, felted, provided with brackets, springs and the other accessories and assembled. The hammers are covered, dampers, prepared, and the whole of the action work is thus made ready against the time when the case shall be in condition to receive it. This action and hammer work is generally done by specialists, who supply many different makers with actions according to their particular scales and patterns.

Meanwhile the cases have been sent to the varnish room and are here prepared with filler and stain to receive the varnish finish. The best instruments have their cases left about four months in the varnish room, receiving eight or ten coats at intervals of ten days or more.