I'll be visiting the Steingräber workshops in Bayreuth in 2 weeks - to be precise on the 29th of June.
I've been anticipating this like a young boy having been promised to be taken to FAO Schwarz ... I am counting down the days.

We'll (my wife is coming along as well) be given a tour around the factory in the morning, and I intend to spend the afternoon playing their grands - the 168, 205, E-272, hopefully also variants with bridge agraffes and/or knuckle roller actions. Hopefully, we'll get a glimpse of the new 232 grand piano (which won't be ready yet, but at least in its embryonic state) as well. I don't think that we can see the foundry where they have their plates cast - now that would also be interesting.

As those who have read my thread on looking for a grand, the Steingräber 205 has, since first playing it, left me in awe, and I have not yet found another instrument which could compete over the whole range of criteria with this instrument. I do have to say that this is based on one instrument, so I am eager to find out how they vary over the range. What seemed interesting, though, is that most other people who have actually played a Steingräber have had similar impressions - very rarely have I heard anyone speak so passionately about having found THE instrument as welshpianogirl did a month ago.

I'd like to be in a position to just chose an instrument there and say: "I'll take that one", but I still have to wait for a little while ... also: I still have more pianos to play before making a final decision.

Anyway - if anyone has any particular questions they might want me to ask - please let me know. I promise that I'll write about what I saw and will (if permitted by Steingräber) also post pictures.

Markus

I completely agree with your passion for Steingraebers. Read what we wrote about our playing them.
http://www.pianoworld.com/ubb/ubb/ultimatebb.php?/topic/1/18212/2.html while visiting the Atlantic Music Center. You will want to be sure and ask them how they make such wonderful pianos. We wrote of two special techniques which only a few piano manufactures seem to use, such as Bluthner, Feurich and Steingraeber. So find out more for us. Thanks.

Yes - ask Udo if he is giving away any free samples!

Just a quick update (full report to follow):

Spent the day on Friday at the Steingräber "factory" in Bayreuth. We got a tour around by the owner himself, Udo Schmidt-Steingräber who very obviously is proud of his highly motivated and skilled craftsmen.

Without going into much detail: yes, they do have electric saws and polishing machines, but almost everything is done by hand (with templates, obviously). Basically, the instrument is built around the plate (which due to the nature of sand-casting have production tolerances of up to 0.5%). Nowhere in the instrument will one find a "decorative" strip of wood just to disguise a gap or anything like that - the gaps just do not exist.

After being finished, the instruments spend about another eight months during which they get tuned up to eight times, regulated several times, and, last but certainly not least, played in. The playing in is done with an automated player playing fortissimo chromatics in several parallel octaves for a significant amount of time, allowing the action and all other parts to settle. The difference in feel between an instrument of 4 months and 8 months age is quite noticable.

I had the extreme privilege to being the first person from outside the factory being able to try out their new 232cm (7'7") grand - even though completely unregulated and unprepped a wonderful instrument which surpasses anything I have played before.

I have some pictures which I will post later this week or next week (after having cleared them with Steingräber).

Markus

Steingraebers make my heart leap.

It is a mystery to me how they have gone largely unnoticed during the 20th century.

These pianos were highly recommended to me about 18 months ago but they were outside my purchasing range.

Is that a factor in the U.S.?

Nice to see such magnificent instruments being hand-built today.

I imagine the roller action is a fine piece of design too!

Alan.

I saw a roller action, but unfortunately there wasn't an instrument with one installed or where this particular one would fit on the floor.

It appears to be one of these things which are a great idea, but because it is different from what we are used to, few people want it. I still hope to be able to try one one day.

As far as I understood it, Steingräber has undergone a (very successful) change from being a manufacturer of (very good and expensive) uprights which also builds grands to almost the opposite now. The production volume for grands has gone up from about 20 a year to now 70-80 a year.

And yes - they are NOT cheap. Although, to put it into the proper relation, they cost less (in Germany, list prices) than a similar size Steinway (and are much nicer, I think, but that is personal opinion).

Markus

I must never touch a 232. Must never, ever touch it...not ever... don't make me do it...never...no matter what I say, don't let me play one...

You are going to be completely safe of that for some time still - it'll take some time until the first ones reach the market.

The No. 1 232 is already sold (not to me), even though it is still quite far away from being properly finished.

I find this to be very good news. The longer the wait, the better. I nearly lost my mind over a Steingraeber 168 - let alone the 205. I would hate to think of a 232.

Oh no! I was saving my money to buy a 205 and now I find there is to be a 232!

And I was already up to $26.41 in my savings account.

Well, I'll just have to keep on saving a bit longer I suppose.

Now, as for the cost of the tickets for my trip to Bayreuth to make my selection.....

I have played a lovely Steingraeber several times at Classical Grands in Seattle. The best description of it I heard was *both powerful and intimate*. Out of my price range though. And of course, I am thrilled with my Estonia. Actually I felt very at home on the Steingraeber - it didn't *feel* all that much different than my Estonia.

I got to talk to Udo a couple of weeks ago and try out the huge piano he brought to Kansas City. Big fun.

If you buy one, you gotta go for the exotic wood exterior.

"both powerful and intimate" are almost exactly the words I used to characterise (in this case the E-272) Steingräber grands on another occasion (not sure if on this forum). This is exactly the characteristic which fascinates me most about them (apart from the overwhelmingly meticulous handicraft).

Markus

Its too bad they sre so hard to come by, I'd like to try the concert grand.

Just as a teaser (more pictures to follow this evening): This is Udo Schmidt-Steingräber demonstrating the stability of a soundboard (in this case of a model 168 grand) and the change in crown under pressure (there was a school group being shown around at the same time as we were, hence all the kids on the photo).




Markus

Remember kids, don't try this at home.

Finally the report:

When we arrived, we were greeted by Udo Schmidt-Steingräber and first sat down to have a chat. After we got talking for a while he asked if we had seed the new Larry Fine book - he was obviously very proud that Steingräber was included in the absolute top (them also being by far the smallest manufacturer in that group).

We then went over from the piano sales area (they don't only sell their own instruments, but also Rönisch, Schimmel, Yamaha, and a few others), we went over to the factory.

On the picture below, the bridge is adapted to the plate, here for an E-272 (the sandcasting process inevitably causes some variation in the size of the plates):



This shows the inner rim with frame of an E-272:



This is an example of a cast iron plate (for an upright) as it is being finished, i.e. drilled and sanded down:



This shows the making of a rim for the 205 - Steingräber bend the inner and outer rim together. Because of the large amount of veneer layers, the actual final thickness of the rim may vary a bit (as a result of the sum of the variations in the veneer thickness), this ensures that inner and outer rim fit without a gap:



A 205 being fitted with strings. Note that the casing is only finished on the inside. The paintwork on the outside it put on afterwards:



A fully strung 168. Mr Steingräber demonstrated the transmission of vibrations throughout the case by plucking the strings - and the keybed reverberates strongly:



Generally, what was most impressive was the dedication and care with which all the work was done. Nothing seemed hurried, everyony appeared to have enough time to do their job (although a certain time is allocated for each job), and they have measures in place that the quality of the work does not need to be compromised even though they obviously wish to optimise output. For example, they make sure that all parts someone needs for a job are there in multiples such that if one is defective, he (or she) can simply take a new one without losing any time. There is, however, one person, who can take as long as he wants and needs to for his job, and that is the one doing the regulation and voicing at the end.

Apart from the fantastic sound (which I have been raving about for multiple times - I know), the craftsmanship is simply superb. If you ever have a chance to look into a Steingräber grand, look out for any purely decorative pieces of wood covering gaps for example between rim and soundboard or similar - you will not find a single one.

After being finished, the grands receive up to 8 tunings over 8 months on their premises, during which they get played in by a mechanical player system for the action to settle. Some of the playing in (basically multiple parallel octave chromatics) is also done with all dampers lifted (to shake everything through, so to say) which leads to truly infernal noise. The effect is quite impressive when comparing an instrument that has only matured for 4 months rather than 8.

Currently, demand exceeds their production capabilities, so everyone is working more than 10% over normal working hours.

Markus

THanks for sharing your visit with words and pictures Markus.

I was very impressed with the two Steingraebers that I played. An upright and the concert grand. I know, I know...quite a spread there, huh? Well, it just happened that the concert grand was there and ready to be played and I wanted to compare the 'feel' of the action of the grand to the upright which is what I was there to test. I played about a half a piece on it, got up and moved on. I didn't want it to consume me and the experience was overwhelmingly begging me to stay and play. I do however know where that piano is now homed and hopefully one day will be there to play it again.

;-)

LL

Thank you.

The most amazing piano pic I have ever seen is this man standing on the bridge.

Funny, people worry about sitting on the lid and this guys standing on the bridge.

Note that "this guy" is the owner of the whole operation ...

Yes, that's what makes it such a powerful pic.

mjs,

Thanks so much for your wonderful report and pictures, and our thanks to Steingräber for giving you the ok to post them.

As you probably know by reading other posts on the forums, we love to learn about members experiences.

To our other members throughout the world, if you have the opportunity to tour a piano factory, do take advantage of the chance to learn about how they are built.

(And please do report back to the forums with comments and pictures).

I've not had the pleasure of playing a Steingräber, but I will definitely seek out the opportunity.

Thanks again Markus.

Best,

Frank B.

Great photos and story, Markus! Thank you so much for taking the time to share it with us.

Thanks for the information and pictures. Well done and truly appreciated...

Mark

Thank you for the kind words.

Next factory visit coming up in September: August Förster in Löbau/Saxony.

Thanks for the information. I can't wait to hear about your trip to Lobau. I am envious - these are my 2 favorite brands right now and I would love to visit them some day myself.

Have you seen the video on Forster? If not PM me and I can email it to you. It is very nice.

Tom

Marcus,

Thank you very much for this fascinating report, and for the photos too. I would love to visit the factory someday, but this is almost as good as being there in person. I hear their little town is also quite picturesque.

The 232 is intriguing. Will you play it again when it is finished?

Kluurs wrote: “I must never touch a 232. Must never, ever touch it...not ever... don't make me do it...never...no matter what I say, don't let me play one...”
Hopefully Keith does not see this thread.....

LJC wrote: “Its too bad they are so hard to come by, I'd like to try the concert grand.”

Hi LJC,

Remember, there is one only 20 minutes away from either Washington airport (as long as it is not rush hour), and it and the old dog are always delighted when a visitor sits down to play!

Bill

Well - as it looks now, my absolute favourite instrument overall is the 232, followed by the triad of 205, Bechstein B, Bösendorfer 200/214 with the Steingräber having the edge on variability of tone -- there is a slight size issue with the 232 (it is absolutely the biggest we can still fit into the room it is supposed to go in without losing the room completely to the piano - I am waiting for paper template of the 205 and 232 to lay out on the floor).

There might be a budgetary issue with the 232, but that would only mean a slight delay in purchasing (and I think it would be worth it).

I will definitely play a fully finished one when they are around (from March on) - that instrument fully regulated and voiced should be a dream.

Markus