The bridge agraffes are quite complex in construction and completely unlike the simple ones sometimes used, with mixed success, in unusual pianos of the past. They provide very efficient transmission of tonal energy from the string to the bridge, with little downward pressure on the soundboard. To minimize downbearing, the precise setting of downbearing is aided by vertical, adjustable hitch pins. One challenge to the development of the Phoenix system has been the much greater production of higher harmonics once the impediments to sound transmission are removed. These harmonics are moderated by the maple veneers that surround the carbon fiber, and by voicing techniques.
All Phoenix-system pianos are equipped with a revolutionary new soft pedal that operates both an una corda (shift) mechanism, and a mechanism that allows for hammer blow-distance reduction, for different types of volume-reduction effects.
Steingraeber is now making the Phoenix system available by special order in each of its grand piano models. Both the carbon fiber soundboard (without the bridge agraffes), and the new soft pedal, are also available as options on regular Steingraeber models.
More information about the Phoenix system can be found at www.hurstwoodfarmpianos.co.uk, as well as on the Steingraeber website.
Steinway & Sons, Inc.
Long Island City, New York 11105
Heinrich Engelhardt Steinweg, a cabinetmaker and piano maker from Seesen, Germany, emigrated with his family to the United States in 1850, and established Steinway & Sons in 1853. Within a relatively short time, the Steinways were granted patents that revolutionized the piano, and which were eventually adopted or imitated by other makers. Many of these patents concerned the quest for a stronger frame, a richer, more powerful sound, and a more sensitive action. By the 1880s, the Steinway piano was in most ways the modern piano we have today, and in the next generation the standards set by the founder were strictly adhered to. (The early history of Steinway & Sons is fascinating, and is intimately connected to the history of New York City and the piano industry in general. You can read a summary of it in The Piano Book; there are also several excellent books devoted to the subject.)
In the 1960s, the fourth generation of Steinways, finding themselves without any heirs willing or able to take over the business, and without enough capital to finance much-needed equipment modernization, sold their company to CBS in 1972. CBS left the musical instrument business in 1985, selling Steinway to an investment group. In 1995 the company was sold again, this time to Conn-Selmer, Inc., a major manufacturer of brass and woodwind instruments. The combined company, now known as Steinway Musical Instruments, Inc., is listed on the New York Stock Exchange under the symbol LVB. Steinway also owns a branch factory in Hamburg, Germany, which serves the world market outside of the Americas, and two major suppliers: the Herman Kluge company, Europe's largest maker of piano keys; and the O.S. Kelly company, the only remaining piano plate foundry in the U.S.
Steinway makes two types of vertical piano in three sizes: a 45" model 4510 studio, a 46 1/2" model 1098 studio, and a 52" model K-52 upright. Models 4510 and 1098 are technically identical, with differences only in the cabinets: the former is in a period style for home use, the latter in an institutional cabinet for school use or less furniture-conscious home use. In all three models, the middle pedal operates a sostenuto mechanism. All Steinway verticals use a solid spruce soundboard, have no particleboard, and in many other ways are similar in design, materials, and quality of workmanship to Steinway grands. Actions are made by Renner. Model K-52 in ebony, and model 1098 in ebony, mahogany, and walnut, come with an adjustable artist bench, the others with a regular bench.
Technicians have always liked the performance of Steinway verticals, but used to complain that the studio models in particular were among the most difficult pianos to tune and would unexpectedly jump out of tune. In recent years, Steinway has made small design changes to alleviate this problem. The pianos are now mechanically more normal to tune and are stable, but an excess of false beats (tonal irregularities) still make the pianos at times difficult to tune.
FALL 2009 -- page 179
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Hybrid & Player Pianos
New-Piano Buyers’ Reference