Greetings, all!  I'd like to add yet another perspective to the old
vs. new piano raillery going on.  Even cheaply-made old grands can
surprise you !

Three years ago, I was asked to resurrect a very, very battered
H. C. Bay 5-foot grand which had sentimental value for its owner.  This
sad little instrument had had its pinblock and harp sprayed with gold
enamel.  The soundboard had many large cracks, and many of the bridge
pins were loose.  Years of dust, moth dung, and hair were found beneath
the keys and the felts had been liberally dined upon.

In short, it was a typical, tonally-dead, unrestored grand of low
degree.  I informed the owner that there wasn't going to be much
tonality even after a lot of money was spent on this piano's restora-
tion, but she insisted that that was what she wanted.  Against my
better judgment, I acquiesced to her request and got to work.

This mean little piano got a complete restoration, including a
refinished sound-board, new oversized tuning pins, new strings, new
hammers, new felts, regulation.

To my complete amazement, the customer's faith (and lots of grinding,
dirty work) gave rise to an extremely beautiful instrument with the
best tonal resources I'd ever heard on a piano of that size -- ever!
Somehow, the installed Pianocorder System wound up with one of those
rare, exceptional playback boards that would make even Joe Tushinsky
proud!

Today, I'm unable to explain such a remarkable transformation.  I've
listened to many new small grands and not one could match this restored
5' H. C. Bay!  I suspect that part of the answer may lie in the quality
of the wood available to the piano manufacturers for even the cheapest
pianos built in the 'teens.  Also, this was only the second piano I'd
ever restored, so it had nothing to do with expertise!  Of course,
I did use the best materials I could obtain.

I've since had two old uprights professionally restored by Alex Keylard
& Sons.  One is a 56" tall Walworth made in the l920s by Schulz Piano
Company of Chicago.  It remains my favorite because of its overall
tonality.  It's sobering to realize that almost no one will restore a
manual upright these days because it's very costly.  On the other hand,
the tonal equivalent is a 5' l0" Schimmel grand which, if one can find
used, will cost the better part of $10,000.00 or more.

Domestically, they just don't build 'em like they useta!

Bob Baker