One of Canada’s top manufacturers, some say the best of the best.
Full size upright manufactured in 1911.
Special Agraffe Bridge patented in 1896. The holes for each string were drilled at a 7 degree angle. Original hammer and damper set, and original treble wire.
A composer’s piano. Long before the computer programs that do the same.
Five extra keys in the treble.
Some extra ivories at the top give a different appearance.
Five extra keys in the bass.
And again a different appearance at the bottom of the scale.
Note the specially made extended abstract, and the inverted capstan post. Also the flange rail in the rear is hinged. With the middle pedal this rail moves forward towards the player allowing the keyboard to shift laterally left or right.
A long and heavily made extension on the hammer rail for the allowance of the extra keys.
Care must be taken when shifting the keyboard to align the parts properly. The keyboard is not set right because of wear on the old parts.
The same song can be played in many keys, ten in fact. This plate is on the key slip rail in front of the keyboard.
The lever underneath the keyboard that shifts the key set left or right. You can see the different settings on the notched rail.
Keyboard shifted to the extreme right.
This is the look in the bass with the keyboard shifted to the extreme right.
And then shifted to the extreme left.
There is a particular way to set up the keyboard regulation on this instrument. If not done properly when the keyboard shifts, this is the result. Uneven hammer line and poor touch control.
The key blocks are hollowed out underneath. This gives an unusual optical illusion of the keys disappearing into the piano cabinet.
There are just a few millimeters of space for the key set to slip underneath, back and forth.
New bass strings and damper plates improved the bass tone and power, from the old iron bass strings.
I have developed a special process for retaining the original decal when refinishing. This finish is about 20 yrs. old now. Lacquer 35% sheen.