Restoration of a Kimball Grand for Milt Ganger
Due to disk space restrictions, the larger photos of this project had to be deleted. Other similar projects are well documented with plenty of photos and descriptions elsewhere on this site. Go to the "Current Projects Page" to see more.
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1) A picture of the piano before work began. You can see in the photo that the
finish on the piano looks quite good. This is an illusion created by the fact that
digital photos aren't terribly detailed. Some of the boards on the piano were, in
fact, restorable without the need of stripping. However, most of the piano was badly
enough damaged that the lacquer had to be replaced in order to make it right. In
addition, Kimball only put .003" of lacquer on the surface so that it would be nearly
impossible to rub out minor surface imperfections without rubbing right through the
lacquer. Another reason for the rebuilding of this piano is the condition of the
original design. The strings used, hammers used and pin block design were all
components of the piano which compromised good tone. Because my rebuilding costs are
so reasonable, it was actually cheaper to rebuild this piano using good hammers and
strings along with a new pin block design which replicates the Steinway technique than it
would have been to buy another new Kimball of the same size. The restored unit will
be far superior in tone, touch and appearance than when it was new or than any new Kimball
the customer could have purchased.
2) Beginning to take the piano apart.
3) Pulling out the plate. The plate height and position was carefully
documented before the plate was removed. Also, tonal evaluations were made and the
sound board was measured and evaluated before the strings were removed. The sound
board is very solid and producing a surprisingly good sound considering who made it.
It should yield acceptable results once properly strung. The only negative
aspect is the horizontally laminated bridges used by Kimball. I believe that this
type of bridge interposes too many glue joints between the strings and the sound board.
This interferes with good vibration transmission. Replacing the bridge,
however, would cost more than this piano would be worth so we will make use of the
original bridges. The final result will still be well worth it. You can see,
in this photo, that Kimball doesn't glue the stretcher boards into the piano. The
board has already been removed before the plate was removed. This will change.
When I make the new pin block, I'll design the system so that the stretcher is
glued solidly into the piano and to the pin block. This will yield a much more solid
construction to the piano and will help increase tonal production in the finished product.
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4) The plate has been removed and the pin block is being patterned using my
predrilled index holes. The patterns will be used in making the new block.
This block was still in excellent condition. However, it will still be replaced with
a more solid block. This will keep the piano tunable for far more years than reusing
this block would do. This block is just multilaminated maple which is known for its
tendency to loosen around the pins over time. The new block will be much harder and
more durable as well as being glued into the case more solidly.
5) The piano is now totally "gutted" and ready for stripping.
6) Making the new pin block.
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7) Fitting the new pin block into the piano in such a way as to improve
the strength and rigidity of the design. This will now be a full fit pin block like
you find in Steinway and other fine brands. The original design was a very loosely
fitting floating pin block.
8) I apologize but my digital camera died and many of the photos of stripping and
refinishing the case along with the restringing of the treble wire were lost. This
photo shows the refinished case with the reguilded plate and refinished sound board
already strung with the new treble wire and nickel plated tuning pins.
9) The original knuckles in this action were made during a time when buckskin was
hard to find. Kimball substituted a dense felt to take the place of the leather.
This felt causes the action to have a sluggish touch. These knuckles are,
therefore, to be replaced with new ones covered in leather.
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10) Removing the old knuckles.
11) The new knuckles are in place.
12) The new hammers have been glued to the action.
Due to data loss problems with the camera and computer, the rest of the photos of this project were lost. This spread remains on line in deference to the piano's owner who enjoyed having them posted.
© Copyright 2010 {David Rodgers' Piano Rebuilding}. All Rights
Reserved.