Below are 10 of the most common FACTS and FICTION about Steinway and Sons pianos.
Steinway started as a German company.
FALSE: Steinway began in New York by German immigrants. Later they opened a factory in Hamburg, Germany. Today Steinway pianos are manufactured in both New York and Hamburg.
Steinway was owned by CBS in the 1960’s and 1970’s.
TRUE: Steinway was owned by CBS in the 1960’s and 1970’s. Many people agree that the quality of manufacturing was generally lower during this period of time.
Boston is a lower line piano made by Steinway.
FALSE: Boston is a stencil piano. The name was invented by Steinway to sell pianos through the Steinway dealer network with pianos manufactured by Kawai.
In the early part of the 20th century, Steinway and Sons treated action parts in a way that made them seize up years later.
TRUE: Steinways from the early part of the 20th century often suffer from a condition known as verdigris. The treatment which was thought to avoid corrosion on action parts caused action parts to seize up and require extensive restoration.
Steinway used Teflon in their actions so they wouldn’t wear out.
TRUE: During the CBS period of ownership in the 1960’s and 1970’s and even into the early 1980’s, Steinway experimented with utilizing Teflon instead of the usual felt bushings in their actions. Most technicians found it difficult to deal with clicking noises that resulted over time.
A Steinway 7-foot piano is actually 6 feet 10 1/2 inches.
TRUE: Steinway 7 foot pianos are an inch and a half short of 7 feet. The 9 foot concert grand is also an inch under 9 feet.
All currently produced Steinways have the Accelerated action.
FALSE: New York made Steinways have Accelerated actions. However, Hamburg produced Steinway pianos utilize actions made by Renner and do not employ the Accelerated actions.
A new Steinway direct from the factory is more refined than a Yamaha from the factory.
FALSE: New out of the box, a Yamaha is far more refined than a Steinway. Steinway pianos come to dealers in an unrefined state. It is up to the dealer to have extensive regulation, voicing, tuning and other adjustments to get the pianos playing on a high level.
Used Steinways represent an excellent value in a high quality used piano.
FALSE: While a good used Steinway piano may be a better investment than a new Steinway, there is a premium you must pay on a Steinway piano compared to comparable pianos from other top tier manufacturers because of the recognition of the name.
Steinway is the number 1 selling American made piano.
TRUE: There were only 1600 pianos produced in the United States last year and Steinway produced over 1000 of them.
15 thoughts on “10 Surprising Facts About Steinway and Sons Pianos”
There are a few errors in this article.
In the early 20th century, Steinway treated action parts with liquid parrafin, not so much to avoid corrosion, but rather to slow the passage of moisture in and out of the flanges to reduce the effects of climate changes on the parts. You are right that this treatment often produced a corrosion called vertigris decades later.
From the 1960s to the early 1980s, Steinway used Teflon bushings, not so the parts wouldn’t wear out, but rather to prevent the bushings from getting tighter or looser with changes in humidity.
The Steinway 9-foot concert grand is listed as being 8 feet 11-3/4 inches.
Thank you for your keen observations.
Robert,
I have been receiving your newsletters and thanks for them as I always learn something.
I feel this is a good time to let you know about my feelings about the 6’4″ Knabe I purchased from you just over a year ago.
I am very satisfied with the piano thus far, it is holding pitch extremely well although I have not been able to practice iike I want because I am still trying to sell
my stained glass. The tone is very good almost great [like
a new Knabe was in the 60’s and 70’s ] but it is not the
total sound I wanted or hoped for. You did not misrepresent the piano [ the action is very good also but probably needs some regulation ] even though my blind tuner [ who tuned for years for all the world class pianists here at the Brevard Music Center] does not seem to think so.
It’s unfortunate that you apparently never played or even heard a live Knabe from the 60’s or 70’s so you don’t really know the ” SOUND ” I am speaking of. The scale was not a Knabe but was apparently an Aeolian. Anyway I feel I got a very good buy for the money. One last thing the metal ” Harp ” has scars on it which I can’t understand since you claimed the piano was well cared for and it certainly didn’t leave the factory looking like it is. Also the dry desert climate that you are in must have contributed to this piano being a little more percussive and bright than the sound I wanted. This very humid climate I am in may have improved or changed it some I don’t know. I feel it does not need the expensive humidistat since I have a very good room for it and it is doing so well. It came with a few ” Squeaks or Squeals ” that my tuner has thus far been unable to eliminate but
they are not that loud. He used some sort of sand paper and is it rust on the strings I believe he said?
Regards to you Robert,
Robert Matthews
I’m so glad you are enjoying your piano. Aeloian piano company owned many venerable American manufacturers including Mason & Hamlin. There is debate as to the quality of manufacturing under Aeloian compared to the pre Aeloian days. Anyway, as for the marks on the plate, it’s hard to say how and when that happened, but it is strictly cosmetic. While going to a wetter climate lessens the possibility of hairline cracks in the sound board from opening, it does have adverse effects on the wear of the piano strings and action. If the room where the piano is has moderate humidity, you’ll be fine. Otherwise, you can install a Dampp-Chaser System for around $200.
If you have a good technician, you can always voice a piano down to avoid excessive brightness. This is done primarily through needling the hammers. As a piano is played, the felt compresses. You can see the 3 lines from the strings on the hammers at the point of impact. If they become deep from playing a good deal over time, they can be reshaped by gently filing to get the egg shape that produces the most desirable tone and impact the strings with virgin felt. Very few piano technicians are highly skilled in the art of voicing. You would be amazed at the results that can be achieved in the right hands. The voicing of a piano is a very personal choice which is impacted by the strength of the player, the acoustics of the room as well as personal taste.
If you ever desire moving to another instrument, I offer lifetime trade up on all the pianos I sell.
Most of this is not only inaccurate, but more importantly an opion not shared by most pianists or technicians:
First, as mentioned above, the use of teflon in bushings had nothing to do with wear.
Second, the statement about a new Steinway from the factory being unrefined is simply a myth propagated by those who unfortunately played on a piano that had not been properly prepped. In the last couple of years, as Larry Fine highlights in his latest book, Steinway NY has taken several concrete and proven steps to further improve the pianos both immediately and in the long run. How do I know this? Because I saw it first hand when I selected my Steinway at the factory.
Third and most importantly, the idea that a used Steinway is somehow not a good value is a blanket statement with no justification. The pricing on Steinways both new and used represents that of a handcrafted instrument that will last for generations. Any other used piano ages about 10 times as quickly. Hence the fact that pianos of other brands are thrown away instead of being rebuilt.
I say all of this as someone who owns a Steinway but has previously owned both yamaha and kawai. Also PS while Boston is manufactured by Kawaii, it is not a Stencil. It is actually 100% Steinway designed and has nothing to do with Kawai designs. Any technician could confirm this.
You should try and get your facts straight before spreading misinformation.
“Most of this is not only inaccurate, but more importantly an opion not shared by most pianists or technicians:
First, as mentioned above, the use of teflon in bushings had nothing to do with wear.”
There are many valid viewpoints on Steinway pianos. I appreciate your feedback. My understanding about why Steinway chose to utilize Teflon for the bushings in their actions in the 1960s through the early 1980s was to prolong the life of the action. If there is another reason, I would love to learn what it is.
“Second, the statement about a new Steinway from the factory being unrefined is simply a myth propagated by those who unfortunately played on a piano that had not been properly prepped. In the last couple of years, as Larry Fine highlights in his latest book, Steinway NY has taken several concrete and proven steps to further improve the pianos both immediately and in the long run. How do I know this? Because I saw it first hand when I selected my Steinway at the factory.”
You are right that Steinway pianos lately are coming to dealers in a much more refined state than in years past. However, I believe that Steinways require more extensive voicing and regulation in order to achieve the highest level of performance compared to Yamaha pianos.
“Third and most importantly, the idea that a used Steinway is somehow not a good value is a blanket statement with no justification. The pricing on Steinways both new and used represents that of a handcrafted instrument that will last for generations. Any other used piano ages about 10 times as quickly. Hence the fact that pianos of other brands are thrown away instead of being rebuilt.”
Just like buying a new car, once you drive it off the lot, you will not be able to sell is for close to what you paid for it. However, the parallel doesn’t hold true completely. If you buy a new Steinway and keep it for decades, indeed the value will go up! However, if you were to buy a fine used Steinway for a fraction of the cost, you could recover your cost sooner since you bought it at a depreciated price and the value keeps going up just like the new one. As for value relative to other top tier brands, there certainly is a premium you must pay to get the Steinway name because most people are ignorant of the fact that Steinway isn’t the only great piano. So, the price of a used Steinway will cost more than almost any other fine used piano and even new Steinway pianos are not discounted as much as other top tier piano brands.
“I say all of this as someone who owns a Steinway but has previously owned both yamaha and kawai. Also PS while Boston is manufactured by Kawaii, it is not a Stencil. It is actually 100% Steinway designed and has nothing to do with Kawai designs. Any technician could confirm this.”
If you read any of the myriad books on how to buy a piano, they will all tell you to buy a piano with the name of the manufacturer on the front of it. The reason is simple. No company in any industry is going to sell a superior product to a competitor to sell. On top of that, two companies have to make profit on the sale, so you pay more money for an inferior product. Once again, the power of the Steinway name is tremendous. People will pay substantially more money for a Chinese piano manufactured by Pearl River and sold through the Steinway network of dealers as an Essex piano because inside it has printed “designed by Steinway”. It’s still a Pearl River piano no matter what you call it. And they won’t offer their pinnacle of manufacturing to their competitor.
“You should try and get your facts straight before spreading misinformation.”
I am always happy to learn more about pianos and welcome all viewpoints.
You sir, are slightly correct. I have a different perspective. I went to the Steinway & son’s factory as a technician to train and not a buyer to buy. It is correct that Steinway’s “ARE NOT” in perfect regulation and that they need a lot of prep work when they get to the dealership. That is absolutely true, I know because I also worked for a Steinway & son’s dealership as well. The reason for this however is because, unless you live in New York your climate will be different, and any work done will be undone by climate change. The action is made of wood and it only takes a 5% humidity change to make wood swell. So there’s really no point in doing all that work for naught. As well, they don’t have the time to do a complete regulating of the action needed. It’s not a simple 1,2,3 process. It’s more like 1,2, go back and do 1 again 1,2,3 go back and 1 again 1,2,3, go back and do 2 again, 1,2,3 adjust 3 go back and do 2 again. 1,2,3 and then do it ALL one more time now that you’ve got a good starting point.
Can an 1922 Steinway B from New York have an new Renner action or must it be a New York action? thanks.
David
It can have a Renner, but most likely it was a replacement from the original if it’s from New York. Many people I know like the Renner actions.
i appreciate your honesty and willingness to publish contrary observations. as a steinway “B”owner for some 20 years, i can say that even pianos coming from the same maker are not uniform and can have unique characteristics as well as shortcomings. one can never say “Steinways or Bosendorfers are the best.” i spent weeks at the Los Angeles Sherman Clay dealership in the early ’90’s( when it used to be on Wilshire Blvd. ) going through and playing daily some 10 “B”s and a few “D”s – even those not for sale. i was shocked at how different they all were, despite the fact that they were all Steinways! it depends on what kind of sound and performance one is looking for in a piano. additionally, environmental factors, mfg. factors, even the intrinsic quality of the woods/metal parts can play a role in the perception of quality of the instrument. there are pianos with cracked sound boards (previously touted in some texts as the death knell of a piano) that sound wonderful, pianos with non-accelerated actions that perform admirably in the home and concert hall, pianos that have been in floods that were brought back to life, etc….
Greg-
You’re absolutely right about the variety of pianos even from the same manufacturer, model and year. After all, they are made from wood and no two trees are alike! More than that, the preparation of each instrument determines a tremendous amount of how it plays and sounds. The history of the environment, upkeep, and use also effects their quality.
As for cracked soundboards, most cracks are relatively benign. In fact they are a normal development in temperate climates. The real issue is crown, the slight upward arching of the soundboard responsible for the power and sustain of the tone of pianos. Some pianos maintain crown better than others. And every new piano has unique geometry to its soundboard giving character to each instrument.
I’m planning to buy my first steinway, used one soon. The questions started to come up, as some piano technician who used to work for Steinway NY told me that I should get a piano refurbished/rebuild with genuine steinway action (accelerated), and warned me about the one with Renner, which suppose to have a harder felt on hammers.
1. I understood the steinwayNY hammer is made by soft hammer, and Renner with a bit harder hammer. I don’t like the bright tone but I am moving to a bit more humid location and know that hammer gets even softer when more humidity in the air. So I wonder Renner hammers would be actually okay option compared to the already softer NY hammer.
2. But how about the actions difference ? NY use the accelerated actions but what kind of actions on Renner which goes into the used steinway as Renner makes many different models for different piano manufacture. I also know that Renner is making actions for Hamberg Steinway, but with the Steinway’s specification which, I don’t know if it include accelerated action or not, though.
I know those are, after all the each pianist’s preference, but I wonder if anybody has more insights about those things about playing Renner actions vs Steinway accelerated actions, and Renner hammer vs Steinway hammer.
Dear Pianolove and restorers,
a historical piano (or used) needs to be treated with respect, meaning that as much of the original parts should be saved, since they are a part of that piano. If you want a black piano for instance don´t buy a nice one with wood exterior and paint it black.
Everything can be repaired since most is wood and metal.
So people who tell “some piano technician who used to work for Steinway NY told me that I should get a piano refurbished/rebuild with genuine steinway action (accelerated), and warned me about the one with Renner, which suppose to have a harder felt on hammers” are lying, because the mechanics have nothing to do with the felt, which after many years of use becomes hard and need to be replaced (one of the very few thing that actually need replacing)
So the best guideline you can use is restore (yes thats right really restoring not replacing) as much as possible of your historic piano.
Very interesting discussion. I just got finished reading Katie Hafner’s excellent “Romance On Three Legs: Glenn Gould’s Quest for the Perfect Piano.” While Gould was extraordinarily picky about pianos, Hafner relates that he had decades of disputes with Steinway over the quality of their pianos, as well as the prep done on them, and I can’t believe all this was due to his oddities. He was able to refine a couple of D’s, but only due to the devotion of dedicated technicians. Other pianists were not so lucky, and as Steinway concert artists abandoned the brand, despite the value of having a Steinway D waiting in Indianapolis (or wherever) when you arrived for your concert. I’ve had my own adventures with a 5-10 Chickering, which came off the showroom floor new in 1977 and needed the normal range of prep work. Now, 35 years later, I’m still employing technicians to work on the action, voicing, etc. Pianos are delicate, precise instruments. Each one is different, yes., but they all need TLC, a keen ear and touch, and perhaps most of all money to maintain them properly.
Unfortunately Steinway like many other brands during crisis see that their old pianos are loved more then their new ones (also because of the higher price) so if they have to “restore” one they replaced all kind of parts to make them less sounding like those fantastic old grands. (yes I am talking about the many centennials that have been massacrated by putting in new soundboards under the pretext that this was better.