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RESTORATION OF A
MASON & HAMLIN AA
It is my pleasure to present to you
this picture documentation of the
restoration of my Mason & Hamlin AA.
I consider myself fortunate to
possess it and have thoroughly
enjoyed myself throughout the
restoration process. I hope you will
get some sense of the scope of the
project despite any imperfection in
the following presentation. Finally,
if you consider yourself a piano
lover feel welcome to pay a visit to
my workshop (by appointment only)
because this instrument is 100 times
more impressive live than in these
photographs.
The original Mason and Hamlin Piano
Company went out of business
primarily because it was not
successful at marketing itself.
However it was taken over by Aeolean
Piano Company in 1924 and
manufactured for many years
afterwards, though not in the large
numbers that Steinways were.
This piano was made in 1901 by the
original Mason & Hamlin
manufacturer. It is 6'2" and was
originally owned by a piano teacher
in St David’s, PA. I discovered the
instrument through a friend of the
previous owner’s family and
immediately recognized its
potential. Though Mason & Hamlin
does not have the widespread name
recognition among the general public
as Steinway, it is known by piano
specialists; technicians, dealers
and some musicians to be AT LEAST
the equal of Steinway.
The first series of photos depict
the original pre-restoration
condition of the
instrument. The piano had been
sitting in a damp den for countless
years where the previous owner
apparently taught piano lessons.
The original finish is mildewed and
opaque from dampness and age. Parts
of the cabinet are gouged. The brass
damper pedal is worn clear through
from long use. The interior is
filthy, mildewed and cruddy. The
fallboard and the sides of the keys
are gouged from over 80 years of
students slashing fingernails. The
hammers have been played into a
trapezoidal profile.
My course of action is the
following. New Pin block, tuning
pins and strings to ensure long term
tuning stability. Soundboard
repaired. This necessitates
re-veneering and reconstruction of
damaged, gouged, crushed and missing
portions. Action mechanism will
eventually be remanufactured; new
key sticks, whippens, hammer shanks
and flanges, hammers and necessary
felts.
Because of singing quality and tone
of instrument prior to restoration
it has been determined that the
soundboard does not need to be
replaced. However, some repairs and
esthetic procedures are in order.
As an interim course, the original
keys will be recovered and new
hammers, back checks and hammer
shanks and flanges will be
installed. Damper heads will be
refinished and new damper felts
installed. The under lever mechanism
will be overhauled.
MANUFACTURE AND INSTALLATION OF NEW
PINBLOCK
The first step involves complete
disassembly and removal of cabinet
hardware and of the original tuning
pins, strings, plate and dampers.
However; just before this step,
essential measurements of the plate
position, height, down bearing and
string-scale must be recorded for
future reference in order to
properly reassemble the instrument.
I also evaluate the instrument as to
the extent that original parts such
as the old pin block can be used as
a guide in the manufacture of the
new block. In this case the old pin
block can be used as a close
reference.
In the above photo, the old pin
block has been removed from the
piano and can be seen in the
foreground in comparison to the new
pin block blank in the background.
Pin block material is the equivalent
of plywood made out of layers of
hard rock maple. Hard rock maple is
a uniform, stable
and dense wood used for the purpose
of securing over 230 odd tuning pins
in a set position so that 40,000
pounds of tension can be maintained
to yield the musical 12 tone scale
that we are familiar with.
The new block must be fit securely
to the plate flange and webbing in
order to guarantee the future tuning
stability and structural integrity
of the instrument. This fit is
achieved by careful measurements
being made of the old block and
plate executed in tandem with
scrupulous and painstaking
observations of the consequences on
the new material. In a sense, it is
a reverse sculpture of the cabinet
rim, plate webbing and flange.
The 230 odd tuning pin holes are
drilled evenly and slowly with a
cool drill bit to ensure consistency
of hole diameter. Without such care,
an inconsistent tuning pin torque
will result leading to immediate and
future tuning stability problems.
After fit is achieved, additional
waste pieces of blank are removed.
Then 30 odd plate screw holes are
drilled. Since material is so dense,
each hole must be drilled to very
strict tolerances or else the screws
will not go in properly at all.
Tuning pin holes are .250" drilled
with a cool bit at a 7 degree angle
to counteract the pull of the
strings.
The above photo depicts the result
of MANY HOURS of replication,
fitting and modification of the new
piece of material. The major cuts
have been made with the band saw and
router. Chisel and rasp are used for
the more subtle gradations. Final
fit of block to webbing is trickiest
to achieve because of its effect and
changes to the previous fitting
procedures.
The above photo’s show the drill
press, angle jig and the cooling
apparatus. All markings for drilled
holes are made with appropriate
sized punches while the pin block
blank is clamped into place onto the
plate which is separate from the
piano at this time. If you look
closely at the photo you can see the
pin block blank off line on the jig.
This is to further simulate the
angle of the strings in the piano
while drilling. The squiggly
markings on top of the blank and
indicate the top webbing fit of the
block and 2 different layers of
material.
Since new pin block is fit to plate
and has been carefully measured to
fit in cabinet without plate, it is
now time to put all 3 pieces
together to determine actual fit and
any changes that would be necessary.
Plate position & height has been
pre-measured and are the primary
guides that will be used to
determine if there is a proper
union. Because of original tone and
condition of piano, down bearing of
strings is only of academic interest
at this time. When assembly is
completed and fit properly, spacing
shims are glued between block and
rim; plate is removed and new block
is screwed and doweled into rim.
All surface veneer of cabinet is
initially sanded with 120 grit
paper. Any traces of old finish are
removed and loose pieces of veneer
are repaired. Sections of cabinet
where veneer is missing are prepared
for the application and installation
of new veneer. New veneer is glued
and clamped to the surface beneath.
This process is time consuming and
tedious, however careful inspections
of the surfaces reveal numerous
spots where it is necessary.
SOUNDBOARD PREPARED FOR FINISHING
Shims and dowels are reduced close
to the surface of the board. All the
old unsightly shellac-finish is
scraped off. The treble and bass
bridges are in excellent condition.
Nevertheless, all 660 bridge pins
are bolstered and firmed up with a
special epoxy made for this very
purpose. Bridges and bridge pins are
then cleaned of all excess epoxy and
old finish. After rough removal of
finish and shims, the board, dowels
and shims are sanded flush to each
other.SOUNDBOARD REPAIR
The above photos show the cracks
that are filled with spruce shims.
This procedure has a purely esthetic
purpose and does not add anything to
the tone. The board is also clamped
and glued.
Cracks shimmed
Board then refinished
Cabinet completely finished with
clear semi-gloss lacquer.
CABINET FINISH REMOVED
The old finish is unsightly and
ugly. The above photo’s give you a
glimpse of the stripping process. A
chemical solvent that dissolves the
old finish is applied to the
cabinet. Effective removal requires
careful observation of the
dissolving process, willingness to
work with a messy noxious substance,
careful removal of dissolved finish
and washing down of surfaces. This
work is not recommended for
everybody.REASSEMBLY OF FINISHED PLATE AND
CABINET
All plate screw heads and duplex
scaling' string rests are cleaned
and polished. All 50 odd screws are
tightened, carefully and slowly.
Inspection reveals that piano has
been assembled properly. Plate is
re-guild with new cloths that are
attached in appropriate locations
where the strings are in contact.
Plate is sprayed gold. Gold paint is
removed pins. Raised lettering is
inked in
with black. Plate is sprayed with 10
coats of semi-gloss lacquer.FURTHER ASSEMBLY OF PIANO
Special buckskin lid cushion rests
are made to protect cabinet and lid
where the two surfaces contact each
other. Lid hinge; and hardware are
polished. Additional lid members are
re-felted and reattached to each
other. Damper under lever guide rail
is refinished, re-bushed and
installed into the piano. Lid is
reattached. Piano action work is
ready to proceed.
All lacquered surfaces are lightly
sanded between coats with 320-400
grit wet-dry paper to level out the
high spots. The final coat is then
sanded and rubbed with 0000 steel
wool in order to give a lustrous
hand rubbed appearance.RESTRINGING THE PIANO
Different string gauges are marked
onto the plate webbing in
appropriate locations. Restringing
takes 50% longer because of slippery
and problematic duplex scaling
string rests.REFINISHING AND RESTORING THE CABINET AND PLATE
Soundboard is carefully masked off
so that the cabinet can be finished
separate to the board. Cast plate is
thoroughly cleaned of all dirt and
grime before spraying gold.
Cabinet is brushed on with 10 coats
of semi-gloss lacquer. Cabinet and
soundboard are then carefully sanded
with successively finer grades of
paper until the natural grain and
figure of the wood transparent.
Need a piano restoration rebuilding
specialist?
Colorado
Boulder
Denver
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The Restoration of a Mason & Hamlin AA circa
1907, #17787
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