Presto

Issue: 1939 2289

P I A N O S
Strolling
I N THE
MAKING
down the production line
tn the modern (^uloransen factory
By
ROBERT P. MILLER
MAGINE carrying a piano under your arm! "Impos-
sible," you say. Yet that feat was entirely possible with
the clavichord, the earliest keyed stringed instrument,
which appeared in Italy around 1450. It had only a few
keys and could easily be tucked under one's arm.
I
Later came the harpsichord, the design of which in some
respects resembled the modern console piano, and in 1709
Bartolomeo Cristofori's pianoforte became the prototype
of today's pianos. These early developments began in Italy,
France, Germany, England and other European countries
where instruments in one form or another were made.
American enterprise in this field lagged until after 1774
when John Brent of Philadelphia made his first pianoforte.
Then others, encouraged by the popularity of instruments
imported from London, went to work and soon new factories
were humming in several sections, notably in Philadelphia
and Boston. Many innovations were added and in 1800
the first satisfactory upright piano was invented by another
Philadelphian, John Hawkins. Since then constant im-
provement in manufacturing processes has accounted for
steady progress in the industry. American-made pianos today
enjoy an enviable reputation throughout the world for their
graceful design, tone quality and fine appearance.
Let us stroll through a typical factory and see how these
instruments are made. We shall start in the Mill Room
where the rough lumber is received—Appalachian poplar,
northern hardwoods such as maple and birch, and of course
mahogany and walnut, which are used principally as veneer-
ing materials. This lumber usually contains about eighteen
per cent or more moisture, so it must first be cured or kiln-
dried, an operation requiring from ten to twenty-eight days.
When ready for milling the lumber contains only about
five per cent moisture and is in a condition to resist any
tendency to warp or split.
Attracted by the noise of saws buzzing and motors hum-
ming, we move along in the room where the cured lumber
is sawed and cut in strips. Pieces of the required length,
width and thickness are next passed through an electrically-
operated planer and then joined together with hide glue,
forming panels. These are placed in huge clamps and
• Courtesy of Du Pont Magazine.
In the veneering room.
strips from the gluing
building panels which
hydraulic press shown
Operators are taking
machine, right, and
will be placed in the
at the left.
The Mill Room, where rough lumber is cut into
strips of the required size to form shells,"
legs, trim mouldings and a variety of other
parts used in manufacturing piano cabinets.
A skilled spray operator is applying a coat
of "Duco" Lacquer to one section of a
cabinet. Other parts are similarly finished
before reaching the final assembly.
I
P
A G E
N
I
N
E
Enhanced content © 2008-2009 and presented by MBSI - The Musical Box Society International (www.mbsi.org) and the International Arcade Museum (www.arcade-museum.com).
All Rights Reserved. Digitized from the archives of the MBSI with support from NAMM - The International Music Products Association (www.namm.org).
Additional enhancement, optimization, and distribution by the International Arcade Museum. An extensive collection of Presto can be found online at http://www.arcade-museum.com/library/
The Sub-Assembly Room, where the sound-
ing boards and strings are installed. Each
operator performs a specific task and is
trained to be a specialist in his work.
The Final Assembly Department. After the
keyboards, hammers and other action parts are
installed, the completed pianos are oiled, pol-
ished and inspected carefully before shipment.
held there under pressure until the glue is dry. We shall
see more of these panels later, but now we are entering the
room where the veneered sctions are made.
Here sheets of walnut or mahogany, about one-sixteenth
of an inch thick, are dried and cut to the desired sizes, with
the grains carefully matched before the pieces are passed
through rollers coated with vegetable glue. Veneering is
an interesting operation. First, a sheet of veneer, glue-coated
on one side, is laid on a flat table. Next a crossbanding
sheet, glue-coated on both sides is laid on top so that the
grain of the wood runs at a 90° angle from that of the first
sheet. Over this is placed the center core of poplar wood,
followed by two more veneer sheets also glue-coated and
laid down as explained before. Thus, five layers of wood
and veneer are used, and a number of panels are placed
in a hydraulic press and kept under pressure for twenty-
four hours, whereupon the wood panels are again air dried.
This method of lamination insures added strength and pre-
vents warping and splitting.
Further along we watch skillful craftsmen shape piano
legs, cut out trim moulding, and form and shape the many
parts required in building pianos. And now we come to
the Cabinet Assembly Department where the parts are
fitted together in knock-down form. Here we pause a mo-
ment to watch an operator apply a mixture of glue and
water to veneered and face parts. "Why?" we ask. Our
guide explains that this is done to harden the soft grains
of the veneer; otherwise, they would absorb a large portion
of the finishes which are to be applied later. "Gluesizing,"
he adds, "also insures a smoother surface and a better finish."
Eventually, we come to the Finishing Department. Here,
the wood is stained with Avater or oil to give it the desired
color, brushed with a filler, which is worked well into the
pores of the wood to provide a level surface, and then a
[ P A G E
hike this earnest youth seatnl Li\m<. a con-
sole model, people of all ages find enjoyment
in playing the piano, which is an ideal
musical instrument for the home.
primer coat is applied to seal the pores. When dry, each
piece is scuffed lightly with fine grit sandpaper. Following
this a skilled spray operator applies the final finishing coats
of Clear "Duco" Piano Lacquer which imparts a smooth,
hard film accentuating the grain design and thus enhancing
the beauty of the wood.
Proceeding to the Sub-Assembly Department we observe
the construction of the most important part of the piano,
the sounding board, and how the wire strings are attached.
The board is made of the finest Adirondack spruce, for on
its vibrating properties tone quality largely depends. The
finest materials and careful craftsmanship are combined
in making and assembling these essential parts. We note
that a thin layer of maple wood is laminated to the board
before the harp-shaped, cast-iron plate with projecting pegs
is mounted on it. To these pegs will be attached the strings.
And the "plunk, plunk" sounds of musical tones originat-
ing further down the line indicate that some completed
assemblies are receiving a preliminary tuning.
Moving along to the Final Assembly Department we
again see the wood parts previously described. They are
now being assembled and glued together forming the cabi-
nets. Keyboards, playing hammers, pedals and other action
parts are installed by skillful operators. Incidentally, we
are told that the keyboards and piano actions are made by
concerns who specialize in this work, and that there are only
two independent piano key manufacturers in the United
States. "Black keys," says our guide, "are usually made of
ebony or other hardwoods; the white keys are faced with ivory
or with 'Pyralin' plastic sheeting." We proceed to another
section where pianos, fully assembled, are rubbed and pol-
ished with du Pont rubbing compounds to impart a high-
gloss finish, then oiled to remove dust and dirt. After a
rigid inspection, the instruments are ready to be packed
and shipped.
T E N ]
Enhanced content © 2008-2009 and presented by MBSI - The Musical Box Society International (www.mbsi.org) and the International Arcade Museum (www.arcade-museum.com).
All Rights Reserved. Digitized from the archives of the MBSI with support from NAMM - The International Music Products Association (www.namm.org).
Additional enhancement, optimization, and distribution by the International Arcade Museum. An extensive collection of Presto can be found online at http://www.arcade-museum.com/library/

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