Can you tell us what you feel makes them different or better in some way from some other high end pianos? Did you learn about the way that they test soundboards with sand? Did they talk about the testing of action shanks for sound pitch? Did they talk about their ideas of making soundboards in a wider shape?

I have played two Steingrabers.

If money were no issue, I would trade the Estonia for a Steingraber in a heartbeat.

Thank you for the Steingraber factory tour. The process is always fascinating.

When I took the M&H tour a few years ago, I remember that they said that in investigating foundries where the plates are made, they discovered most were not used to the small tolerances required.

Last month at the Steinway tour, they mentioned they had purchased their foundry supplier in order to gain more quality control.

This must be a common issue in piano manufacturing.

Thanks so much for sharing these wonderful pictures!

@ Jordang: From a certain level of instruments, I find it becomes very difficult to pinpoint exactly what makes the difference, especially because it really turns into a matter of personal preference.
I would say that one thing which I'd put under "touch and tone" combined is how immediate the connection between the pianist (me) and the instrument is. What I mean with that is do I need to put in a concious effort in to getting the sound I want to get out. Basically, if the tone I get from the instrument is the tone I wanted to get and I didn't need to make a great effort for achieving that, then that is definitely positive. And in my opinion, that is what the Steingräber instruments offer to me -- combined with an incredible flexibility of tone. It never feels like playing on a keyboard, but rather as if one is playing directly on the strings - there is an immediacy comparable to playing a string instrument.

And, yes, a C. Bechstein or a Bösendorfer have that as well to a certain extent, but I don't think that their tone is that flexible (which makes them somewhat "easier" to play).

I didn't see anyone checking the hammer shanks or preparing a soundboard, so I can't comment on that, really. But: Udo Schmidt-Steingräber did demonstrate that a soundboard is "tuned" - when hitting it at different places, the pitch you get is noticably different and corresponds to the pitch of the strings that will go on the bridge in that area.

On another point (which possibly relates to the first one) is the care and attention that is taken during the building process. Every craftsman building his part of the instrument actually does a complete step such that he can check (and be responsible) for one specific part of the production (like fitting the plate and adjusting the bridge to the plate) rather than just one small step (like putting on the lowest octave of strings, for example). In this way, everyone clearly sees his contribution to the finished product. The craftsmanship I saw was beyond anything I have ever seen anywhere before - probably one of the secrets is never to cut any corners. But then I cannot compare because I haven't seen the production of any comparable manufacturer.

Markus

“The craftsmanship I saw was beyond anything I have ever seen anywhere before - probably one of the secrets is never to cut any corners.”

That is really nice to hear. It sounds like the small family owned German company is carrying on the traditional craftsmanship for which they were so well known. Leica camera used to be that way too. Unfortunately many companies have been purchased by investor groups or larger companies, and their sole goal is the bottom line. Quality inevitably suffers.

Bill

mjs,
As a new Steingraeber owner,

I just saw this very impressive report on your tour of the factory.I am planning on a visit to Germany. I want to visit the Steingraeber and Feurich factories. Hopefully i can go this Winter. Your report is making me want to leave today!
I am glad to see you settled on a Steingraeber. I just bought mine and i am loving it.


Terry

Terry - get in touch with Steingraeber, and I am sure that Udo Steingraeber will give you a tour around the facilities. Since I have been there last, they have expanded their recital/selection halls. Make sure you also have some time to look at Bayreuth, it is a pretty small town with some gems to look at.

Gunzenhausen, where Feurich are, isn't too far. I haven't been there myself, though.

And should you come through Munich (probably the closest large airport - otherwise Frankfurt), get in touch.

Markus

Markus,
Thanks for the information. I will be sure to contact Steingraeber and maybe get a tour by Udo. If i will be coming through Munich,I will send you a pm before my trip.
Btw,How has your Steingraeber settled in? What color did you get?




Terry

Mine is polished black (standard finish, basically) - I had the choice between two instruments on the floor, both same finish. I didn't really want to custom order.
It has settled in extremely well - had something like four tunings within the first year and a full regulation in July (after 10 months), and it is better than ever. It is probably still settling to some extent, but the technician said in July that he could sense the instrument having settled a lot.

Markus

Edit: Here is a picture of ours: