Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
MORRIS STEINERT'S NEW UPRIGHT PIANO ACTION.
into complete rapport with the instrument,
and to secure effects of tone-color corres-
Adapts the Steinertone Idea to the Upright Piano—A Detailed Description of the Invention -What Mr.
ponding to his own musical instinct and feel-
Steinert Claims For it.
ing. I need not say that my action enables
Morris Steinert, the widely known inven- be further noted that the jack does not act the performer to secure crescendo, diminu-
tor of the Steinertone, was granted this week directly upon the hammer-head, as in the endo, portamento, legato, and color and tone
letters patent No. 679,485 on a new improve- ordinary pianofortes, whereby they become effects beyond the reach of performers ex-
ment in upright pianoforte actions, the object instruments .of percussion, but that the jack cept those of the highest technical skill.
according to the inventor being "to transform acts through the medium of a hammer-lever
"It is apparent that in carrying out my
the pianoforte of to-day from a pure instru- positively connected with the hammer-head invention, some changes in the construction
ment of percussion which it may now be said by means of a hammer-lever link. This con- herein shown may be made, and I would
to be, to an instrument in which the strings struction makes the action of the hammer a therefore have it understood that 1 do not
are excited in vibration by a stroke rather stroke rather than a blow, and refines the limit myself thereto, but hold myself at lib-
than a blow with the differences in tone qual- stroke by making it less direct and aggressive erty to make such changes as fairly fall with-
ity thereby signified." The details of con- without any substantial loss of power. Un- in the spirit and scope of my invention."
struction and combination of parts which are der Mr. Steinert's construction, also, the
COMPLETE" AWARD" JURY
herewith described, may prove of interest to hammer is not released and allowed to fall
many of our readers.
back upon the hammer-rest rail when the key At the Pan—A Pianist, a Critic and an Organist
" In carrying out my invention," says Mr. Stein-
ert, " the piano key-lever 2 is furnished at its inner
end with a threaded pilot-rod 3, receiving a pilot-
head 4, which is adjustable upon the rod and which
engages with a felt-faced tappet 5, located upon
the forward end >»f the jack-lever 6, the rear end of
which is pivoted to a butt 7, secured to a jack-lever
rail 8. A felted jack-lever rest-rail 9 is located in
position to normally support the jack-lever and
take the weight imposed thereupon by other parts
of the action. At its forward end the jack-lever is
furnished with a jack-butt 10, in which is pivotally
mounted the jack 11, the extreme upper end of
which coacts with the felt cushion 12 applied over
the obtuse-angled escapement-face 13, formed up-
on the lower edge of the forward end of the hori-
zontally-arranged hammer-lever 14, which is piv-
oted to a hammer-lever butt 15, secured to the
hammer-rail 16. The forward movement of the
upper end of the jack is limited and controlled by
an adjusting button 17, mounted in a rail 18, while
the escapement of the jack is positively effected by
means of an adjustable button 19, mounted in a
rail 20 and engaging with a short arm 21, extend-
ing forwardly from the lower end of the jack, which
is returned to its normal and operative position by
means of a spiral spring 22, interposed between
the arm 21 and the upper face of the forward end
of the jack-lever 6. A hammer-lever link 23, ar-
ranged nearly vertically, is pivotally attached at
its lower end to the forward end of the ham-
mer-lever 14 and pivotally attached at its up-
per end to the hammer-head 24, which is piv-
oted in a horizontally-arranged hammer-butt 25,
secured to the upper end of the hammer-rail 16.
A hammer tail or arm 26, mounted in the hammer-
head 24, carries the hammer 27, which is of ordin-
ary construction. A felted hammer rest-rail 28 is
located in the usual position for affording a rest
for the hammer. A hammer-spring 29 secured to lias been depressed to the full extent, but
a hammer-spring rail 30, engages with the ham- rather is held in close proximity to the string
mer-butt 24 and operates to assist in restoring the
hammer to its normal position, in which it is also in such a position that by a slight vibration
assisted by gravity. If desired, this action may of the key while in its depressed position the
be further assisted by a weight 31, mounted in the
hammer may be utilized to excite the string
hammer-lever 14.
"To prevent the hammer itself from trembling di- in vibration by a series of strokes running
rectly after its impact with the string, I employ an from extremely slow strokes to those of the
adjustable button 32, mounted in a rail 33, in po-
sition to engage with the upper face of the forward most rapid repetition.
end of the hammer-lever 14. as well as an adjus-
"My improved action," says Mr. Steinert,
table button 34, mounted in the upper end of the
hammer-lever link 23 and engaging with a horn or "by reason' of its peculiar construction is
ringer 35, extending downwardly from the hammer-
head 24 from a point directly belo.v its pivot. My very powerful and singularly easy, natural
improved action is also provided with a damper 36, and free. It is difficult to describe just the
adjustably mounted upon a damper-rod 37, located
in the upper end of a damper lever 3?, pivoted in quality of touch which it secures; but to
substantially a vertical position in a hammer-lever describe that touch as being 'easy,' 'natu-
butt 30. secured to the hammer-rail 16. A spring
40, secured to the butt 39, engages with the rear ral.' and 'free,' gives an idea of its quality.
edge of the upper arm of the lever 3S and exerts a
"By uniting and combining together, as it
constant effort to hold the damper 36 in contact
with the string, from which the damper is retired were, the several elements of the train con-
bv the co-action with the lower arm of the lever 38
of a wire finger 41, mounted in the rear end of the stituting the action, whereby they may be
jack-lever 14, which when its forward end is ele- said to be articulated after the manner of the
vated has its rear end depressed, with the effect of
swinging the damper lever 3S, so as to withdraw bones of the arm, wrist, and fingers, 1 am
the damper 36 from the string."
enabled to control the hammer in a way not
It will be seen from the foregoing descrip-
tion, taken together with the illustration, that
this improved upright-piano action is distin-
guished by simplicity of construction and ac-
cessibility for adjustment and repair. It will
POOLE
possible in the ordinary instrument, in which
the impact of the jack upon the hammer-
head sends the hammer flying through the
air to strike the string. With my controlled
action, the performer is able to bring himself
PIANOS
—Criticism Aroused -The Status of Piano
Players.
[Special to The Review.1
Ruffalo, N. Y., Aug. 5, 1901.
In trade circles the question of awards at
the Pan-American is a live topic. At the
time the regular jury of awards began its
work, the men who were to decide on the
merits of the pianos were not appointed.
They were finally called by telegraph, re-
sponded at once, and immediately went to
work.
The jury consists of Arthur Whiting, the
well-known pianist of Boston, W T m. Apthorp,
the musical critic of the Boston Transcript,
S. J. Kiibel, an organist who stands high in
the musical circles at Washington.
They
concluded their work promptly, and have
departed. It is possible that there will be
some bitter disappointments when the names
of the recipients of awards is announced.
Perhaps it may be September before the
awards are made public.
The selection of the men is not endorsed
by exhibitors, who would have preferred some
practical man on the board who could judge
of piano construction. Those who exhibit
piano players, too, feel that the importance
of the player to-day justifies a more exhaus-
tive examination than the jurors gave to the
different players on exhibit.
An impression seems to prevail in some
quarters, that the Exposition is not complete.
It is well to emphasize that the Exposition is
finished to the last detail, that it is the univer-
sal testimony of those who have seen the
completed Exposition, that it is the most
beautiful spectacle of the kind ever presented.
The architectural composition is not only
magnificent in proportions, but exquisite and
refined in every particular. The harmony of
color throughout the building and grounds,
the decorative landscape work, the variety
and beauty of water features and extensive
sculptural embellishment combine to make
a most glorious picture.
The grand illumination which takes place
at 8.30 in the evening, with all the bands
playing the "Star Spangled Banner," leaves
upon the mind an impression which every
enc will love to cherish and will never be
forgotten by anyone who has the pleasure
of that experience.
Precious, Perfect, Peerless
As to Tone, Touch, Design
Durability and Value. , . .
BOSTON,
M
ASS.
5 and 7 APPLETON STREET,