I think I'm going to open a discussion about glue.  I've just looked at the label on a well-known brand of modern glue, and it says: "Bonds Stronger Than Wood" - which sounds good.  Until you go on to read: "Not for structural or load-bearing applications."  Oh, so that means it's ideal for....
 
  It's Easy enough to say (as I do later on this page) that old-fashioned scotch glue or animal glue is best.  It was good enough for Ruckers, Shudi, Broadwood, and all the rest, and we know it will last for four hundred years.  It is also easily reversible.  But by definition, no modern glue can possibly have a pedigree this long, and they were all developed for a purpose.  There's also the point that a decent joint with an inferior glue may well be better than a poor job with the best material - and hot gluing is not the easiest trick on the table. And have you tried to buy an electric glue-pot lately?

  All contributions please to friends.sp@btinternet.com


Our Aims

The Site will offer an opportunity for Amateurs (and Professionals, if they will) to exchange notes, ideas, and problems.  In a perfect world, all pianos would be professionally restored to a high standard, but the reality is that there are more pianos about than there are good homes.  Perhaps it is more realistic to strive for more modest aims:  
 - to record as much original detail as possible [please see 'Register your piano'] especially of 'unrestored' instruments, before any irreversible steps are taken
 - to identify the best and most important  pianos, and to try to ensure that these have a good future
 - to encourage professional restoration where possible, but to do what we can to ensure that any amateur work is done to a high standard, and at the very least is reversible.

The Best and Most Important - which are these?  All opinions welcome!  If we take auction prices as a guideline, then eighteenth-century five-octave single-action pianos are the best - especially those bearing the name Zumpe (£7000 for a recent sale).  Other 'early' names such as Pohlman and Ganer also command a premium, whereas restoration counts for little.  Original Condition is the thing.  But these pianos were soon regarded as primitive, and improved (as musical instruments) with greater compass, and double actions with escapement.  Pianos became heavier, trestle and French stands gave way to turned legs (six at first, then four) and awkward handstops were superseded by pedals.  The sound was bigger, but the value (now) is less.  The leading auction houses are really not interested in square pianos made after about 1810.

Neither is rarity an indicator of value.  There are, for example, believed to be at least 50 Zumpe pianos known, and at least 80 by Ganer, but only about three bearing Houston's name.  Who would pay more for the Houston?  (Try me.)

The strange consequence of all this is that the very important 'developed' square pianos from the Regency to the early years of Victoria's reign, although numerous now, could easily become threatened.  There are some lovely pianos from this era - one of my favourites was a Broadwood from 1835, which was delightful to play, and made a sound like a miniature Grand.  It also was entirely original, made from beautiful mahogany with brass inlay, and worked perfectly.  Please don't neglect these later squares - they need Friends as well!

A Note about Reversibility

Some of us get a bit sniffy about 'unsympathetic' restorations using chrome wrestpins and scarlet felt, but at least these can usually be replaced with something nearer to the original.  Once we have bought a square piano, it is of course ours to do as we wish, but we don't really want to look back at what we have done in sorrow.  Some good guidelines are:
 - think carefully before doing anything that cannot be undone
 - use original materials is at all possible
 - never use modern permanent glues.
On the last point, proper hot 'scotch' glue is best, and is what was used originally, but for small repairs 'Titebond'  Liquid Hide Glue is quite satisfactory, and very much more convenient.  Do make sure it is in good condition though - it goes off, and there should be a 'use by' date on the shoulder of the bottle.

Authentic Materials
Please see the 'Friends and Suppliers' section for some of our favourite suppliers of strings, brassware, etc.
Otherwise, perhaps we could help each other?  Please see 'Pianos and Parts' - 'For Sale' and 'Wanted'.
Some useful suggestions are:
Mahogany:  Modern timber is hopeless.  Collect useful old timber when you have the chance. Be aware that there were several kinds of mahogany, varying in density and colour.  More than one species was used, and I am not going to get into any arguments here!  Suffice to say that if you ask three experts, you will get four opinions.  Useful sources include old furniture, and even old pianos... not squares, of course...
Ivory:  Happily unobtainable new, these days.  Keep an eye open for old pianos at your local tip, though.  If the keys are ivory, it's too late for that particular elephant, but please let's recycle.  Be aware that ivory varies in colour, thickness, and grain.  Many cheap upright pianos in the nineteenth century used rather thin ivory, but there are ways of coping with this.
Whalebone :  (More correctly: Baleen)  Again, happily now unobtainable.  The last supplies are believed to have been used for naval officers' hats, rather than ladies' stays, but the cupboard is now bare.  However, I have used carbon fibre for replacement springs on 'Zumpe' actions with some success!  Fishing-tackle shops can usually help, but may be puzzled as to why you are offering good money for a broken fishing-rod...
Cloth:  Felt was never used until the 1830s (?) and then only for hammer coverings.  On square pianos, it always looks 'wrong'.  For actions, hitchrail facings, etc. we should use woollen cloth of the correct thickness and colour.  Keep your eyes open everywhere from John Lewis to jumble sales.  If the colour is not right, dyeing is usually no problem - wool is easy to dye, and the result doesn't have to be washed again!