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Nickel hardware would cost a bit more than brass, so there is hundreds more in cost there.

There is no additional labor though, so that must be very expensive silver paint they use on the frame!

I like the look of nickel hardware on vertical pianos in particular.

On grand pianos, against the bronze-colored plate, it seems weird on a fully open lid. When the plates are painted in the grey/nickel color on a grand piano, it almost looks like the plate is unfinished iron (perhaps less elegant than intended). Just my opinion...

What I would like to see is a line of two-pedal architecture "Hofmann" edition Ds, produced to spec as far as possible in all aspects of materials and manufacture, including the hammers and actions, to the standards of Josef Hofmann's concert instruments, and with that open sound in mind and also the alleged power of them even when played by other performers. Not all of these necessarily would have that open and limitless quality in the treble, or that natural power in the midrange and bass for a pianist to work of off, but some would. These pianos would allow for tremendous possibilities in voicing, articulation and phrasing. Maybe many of these pianos would have these attributes if the builders were to know what to shoot for and could resist the temptation to make them in some way like contemporary Ds.

Hi Iobessed -this edition is not only the smaller models. We currently have a 3 year old Concert Grand Sterling Silver, model D (9 foot, the largest they make). You'll notice that on their D version of this edition there are a number of decorative elements, including the larger (concert hall style) matching wheels. Whether or not the silver is worth the price premium is a matter of personal taste. In general, once these Steinway pianos hit the secondary market we find that the various "limited edition" premiums are often neutralized.

The Houston delaer has a new silver B as of last month. We were not impressed with the look, feel or sound but YMMV. Seems like a manufacturer gimmick to squeeze a few more dollars out of high end buyers who are not so price sensitive.

I understand what you are saying terminaldegree. The silver frame is not a new idea as you know. it has been done, along with nickel (or chrome?) hardware by many makers by now. Steinway was on the tail end of this idea.

But unless there is an extra high gloss finish on the silver finished frame, it doesn't thrill me personally. Here is a Yamaha done in this style. Nice piano, but the finish is not my taste. Of course, YMMV.

Our reactions to the "sterling" frame may, in part, be influenced by what we are accustomed to. I feel that the traditional gold tone is more appealing; it's warmer whereas the silver has a very clinical, cold look to it.

Regards,

It doesn’t look silver, it looks like battleship gray. The nickel hardware does look nice though.

Hoffmans Steinways had a narrower headscale to the keys. The result being wide intervals are easier to reach. He also had reduced leverage in the hammer shanks, (which I am not fond of for a number of reasons). This does result in less key leads in the keysticks, (which does improve the speed).

Older Steinways, (and quite a few other makers) had lighter hammers than most pianos made since about 1970. I find it more productive to adjust the mass of the hammer very precisely to match the frequency response across the compass and the leverage of the action. The standard being that the action should feel firm, smooth and even with soft playing, combined with the speed of the key useful must not be too slow when playing softly. What I mean is you evaluate the pianissimo playability using a key speed that is fast enough to allow for rapid yet soft articulation of notes. I call this LightHammer Tone regulation. One needs higher leverage to reduce the amount of key stroke devoted to escapement, and this is what Hoffmans reduced leverage works against. This also makes the regulation more stable because small changes in hammer blow do.

Since about 1985 in NY and 1965 in Hamburg, Steinway actions have reduced leverage.

I know this is a bit OT. So before I go back to the color schemes, but Hoffman's work intertests me. He composed under a pseudonym. I have the earliest lab reports regarding the comparison between the Accelerated Action and the "old action". They were done by a Mr. E.E. Free in NYC. I believe this name is a pseudonym used by Hoffman and he actually did the high speed photography testing because the report reads like it was written by a pianist. Hoffman had a degree in mechanical engineering and would have been capable of doing this work..

I have a 1920's era Chickering concert grand that has a black plate and nickel hardware. I call it my "Goth" piano.

Pictures? My spouse would love that look.

When I was shopping for my NY A, in late 2015, I think that was when Steinway just introduced the sterling version, and our local Steinway galley had one B that was placed in their recital hall for concerts. Maybe it was played in well, but not too exhaustive (it was not a super busy recital hall, and I don't think any piano there would be terribly pounded by pros non-stop), that B was the best overall among the 5 or 6 B's they had at that time. Unfortunately the price premium didn't work for me, nor did the sterling color scheme.

I actually like the nickle plating of the metal parts, but the plate's color didn't work for me. As John305 above said, it looked like battleship gray. I am not a material engineer or scientist, but I wonder whether that will work better if the plate's color is equally polished and shinny like the rest of nickle plating.

Seiler offers silver plate and chrome hardware, and the cost difference is far, far less than their competitors. On the Johannes Seiler, the plate finish is closer to a matte finish, but on the Seiler ED-series grands, it's an excellent gloss - an automotive level of silver metallic finish.

That looks a lot better than Steinway’s battleship gray.