I N D E X

                                   SECTION                                 PAGE

KEYBOARD . . . . . . . . . . . . . . 1.0 . . . . . . . . . . . . . . . . . . 2

ACTION . . . . . . . . . . . . . . . 2.0 . . . . . . . . . . . . . . . . . . 4

TONE BAR . . . . . . . . . . . . . . 3.0 . . . . . . . . . . . . . . . . . . 7

AMPLIFIER  . . . . . . . . . . . . . 4.0 . . . . . . . . . . . . . . . . . . 9

CASE . . . . . . . . . . . . . . . . 5.0 . . . . . . . . . . . . . . . . . .14

STAND  . . . . . . . . . . . . . . . 6.0 . . . . . . . . . . . . . . . . . .14

PARTS LIST . . . . . . . . . . . . . 7.0 . . . . . . . . . . . . . . . . . .15


The keyboard consists of the base-frame assembly and the key assemblies.

     The base-frame assembly consists of a BASE FRAME or WOODEN CHASSIS;
mounted transversely across its center is a strip of hardwood called the
BALANCE RAIL;  mounted vertically on the balance rail are 38 chromeplated,
brass CENTER rail GUIDE PINS; mounted transversely across the front of the
base frame are 38 FRONT rail GUIDE PINS.

     The key assembly consists of 23 assorted WHITE KEYS and 15 BLACK KEYS.
Mounted on the 15 black keys are the black plastic sharps.  These may be
reglued with such binding agents as "Miracle" cement obtainable at any 5 &
10 Cent Store, or any plastic aircraft type cement.

     The white keys are capped with strips of pyralin "ivory", a product of
DuPont, and standard equipment in piano repair shops.

     Each key is slotted and each slot is capped with a FELT BUTTON.  These
buttons are slotted to allow a not too snug fit of key to guide pin.


     All keys may be removed simply by lifting the key off the guide pins.
By grasping the key at the center rail guide pin this can be accomplished
most easily.  The amplifier must first be removed to remove keys under it.
To do this do not touch the wiring.  Merely remove the three nuts attach-
ing the amplifier to the base-mounting studs with a suitable socket wrench.
Then lift the amplifier off the studs and rest it on the tone-bar.  Now all
keys are clear.  In replacing the amplifier, be sure to replace the ground


     1.)  Sticking Keys

                Keys may fail to return to their rest position due to
          three basic causes:

                a.)  Interference with one another;

                b.)  Tight felt buttons (rare);

                c.)  Sloping front guide pin, binding inside clearance

               Since the third cause is the most common and easiest
          to correct proceed as follows:

               (1)  Tap the front guide pin lightly backward (away
               from the player). Key need not be removed!

               (2)  If this does not correct the trouble, view down
               each side of the key to see if interference with ad-
               joining key causes trouble.  If so remove key and
               file off interference point.

               (3)  If felt buttons are too tight file, scrape or
               simply press apart inside surfaces of felt aperture.
               Scraping out inside of key aperture will also help in
               freeing keys.

     2.)  Loose Keys

               Keys may be excessively loose due to:

                    a.)  Wear in the key buttons (Part 239-17)

                    b.)  Absence of key button

                    c.)  Short guide pins.


               Buttons may be tightened by applying aircraft dope
          to felt and squeezing aperture as the dope hardens.

               If the button is excessively deformed it may readily
          be replaced by prying loose and glueing (with any quick-
          setting commercial glue) a new button in place.  Care
          must be taken to position the new button in such a manner
          as to retain proper key spacing and movement.

               If the guide pins are short, they may be extended by
          driving them up from underneath with light hammer blows.
          Excessive extension is undesirable since the key should
          not contact the guide pin top when depressed.

     3.)  SATISFACTORY KEY OPERATION may best be checked by raising
          the hammers off the keys with the hand.  The key should
          then be free enough to return to its rest position, but
          should not be so loose as to permit adjoining keys to
          slap together under light side pressure.


     The action assembly consists of two cast aluminum TONE BAR
SUPPORTS; a laminated maple wood strip called an ACTION BAR to which
is mounted 38 HAMMERS and 30 aluminum DAMPER STRIPS.  Also mounted
transversely across the tops of the damper strips and operated by 
the foot pedal is a strip of hardwood called a DAMPER RELEASE BAR.
The damper release bar is mounted to the two tone bar supports by
means of two damper bar pivot screws.  (Part No. 1119)

     Considered as a sub-assembly of the above is the HAMMER DAMPER
ASSEMBLY consisting of the following parts:

           a.)  Felt hammer head
           b.)  Hammer shank
           c.)  Hammer heel
           d.)  Butt flange
           e.)  Bridal strap
           f.)  Aluminum damper strip
           g.)  Damper felt

     When hammers must be replaced, always replace the entire hammer
damper assembly.


1.)  Hammers Stick

     Hammer may fail to operate due to:

          a.)  Tight bearing in butt-flange

          b.)  Interference between hammers

          c.)  Wedging between tone reeds

          d.)  Wedging against tonebar


          a.)  For tight bearings:  remove hammer and damper assembly
               as follows:  Unscrew damper strip, remove damper
               release bar, unscrew butt-flange and lift out
               hammer damper assembly.  Now exercise hammer by
               moving up and down under tension on the pin-
               bearing.  Hammer should move freely under its own
               weight.  If exercise will not free hammer, install
               a new hammer-damper assembly.

          b.)  Interference between hammers may be corrected by
               loosening butt-flange and rotating as required.
               If rotation does not suffice, replace offending
               hammer and damper assembly.

          c.)  Hammers wedging between tone-reeds are either due
               to twisted hammer, (correct as in b.) above) or
               due to improperly located tone-bar.  This latter is
               simply corrected by moving tone-bar laterally, mak-
               ing sure that all hammers strike tone reeds properly.

          d.)  Hammers wedged against tone-bar are also corrected
               by moving tone-bar, in this case forward just enough
               to free hammer.

2.)  Hammers Miss Tone-Reed

           Hammers wedging between tone-reeds are either due to
     twisted hammer, or due to improperly located tone-bar.  The
     latter is simply corrected by moving tonebar laterally, making
     sure that all hammers strike tone-reeds properly.

3.)  Hammer Creates Rapping Noise:

           May be due to loose bearing, (replace hammer as described
     above) or may be due to split hammer or broken glue joint.
     Replace split hammer, repair or replace broken glue joint.

4.)  Dampers Do Not Operate Properly:

           When properly adjusted the dampers should deaden all sounds
     immediately upon the release of the keys by the fingers.  If tone
     vibration lingers after the fingers have been released, it is an
     indication that the damper felt is not wedged tightly enough
     against the reed.  This is corrected by bending the front tip of
     the aluminum damper strip slightly upward.

           In a properly adjusted instrument, with the keys in a de-
     pressed position, all dampers should release completely and all
     struck tones should be free to vibrate for their full natural
     duration.  In the event that one or more of the vibrations dies
     out too soon after the initial strike, it is an indication that
     the damper is NOT releasing.  In this event bend the front tip of
     the aluminum damper strip slightly downward.

           Great care should be used in bending the strips, so as not
     to destroy their spring action.  Should this occur, release the
     strip mounting screw, straighten the strip, replace and reset.


     Pedal action is controlled by the length of the pedal rod
(Part No. 1124).  Proper pedal rod installation is described in the
installation instructions.  Tne correct length is determined by in-
serting the rod through the hole in the piano base until it contacts
the damper release bar.  Now the lower end of the wooden rod should be
flush with the top surface of the pedal heel.  If this is not the case,
adjust the rod to suit by turning the machine screw in or out.

     More recent model pianos have two holes in the piano base for
interchangeability between the chrome stands and the wooden stands.
Adjustment and operation for both is similar.


     Noisy pedal operation may be due to a loose bearing (see Section
6.0), improper rod length (permitting slack) or due to the pedal strik-
ing the floor.  The simplest correction for the latter consists of in-
serting felt strips into the pedal housing in such a way as to restrict
the pedal travel to prevent contacting the floor.

SECTION 3.0 -- TONE BAR (Part No. 239-13)

     The tonebar assembly consists of 38 tuned tone-reeds pressed into
the cast iron tone bar and of the amplifier pick up bar rubber-mounted
between tone bar web and tone-reeds.


     1.)  Tone-reeds cannot change their pitch unless they are damaged.
          Consequently a tone bar once properly tuned will always be
          properly tuned.  However, occasionally a reed may require re-
          placing, may be damaged, or the owner may wish to alter the
          basic chromatic scale.  Therefore:

          To change the pitch of a tone-reed

                a.)  Shorten the reed with a file to raise the pitch;

                b.)  File a notch approximately 1/3" from the free end
                     transversely across the top to lower the pitch.

     2.)  Do not bend the tone-reeds since this will shorten their life.
          Excessive bending, violent shocks, etc. will cause tone-reeds
          to break off.

     3.)  A tone-reed may be replaced by removing the tone bar, driving
          the shank of the reed out of the casting, inserting a new reed,
          aligning the flat face of the reed shank at right angles to
          its former position, (to assure a tight fit) and hammering into
          place. The reed must then be tuned. Reeds are identified as
          Part No. 239-13-1 to 38, -1 being the lowest note, and -38 the

          It is recommended not to replace tone-reeds unless you are
          thoroughly familiar with the operation, but rather to exchange
          the entire tone bar at the factory.


          The tone bar has been locked to the support bracket by wooden
          dowels, to prevent displacement during shipping.  These dowels
          are necessary only when the piano is to be moved frequently from
          place to place.  They also provide a rapid method of reposition-
          ing the tone bar, if it has been removed for any reason.

          In the event that a tone bar is to be replaced, the new tone bar
          will normally not fit the dowel holes already provided in the
          support.  If the dowels are desired (for portability) new holes
          may be drilled AFTER properly positioning tone bar.  (Recommend
          using 3/16 dia. hardwood dowel, #12 drill through tone bar and
          bracket).  In some instances the dowels themselves restrict, to
          a slight degree, the full tone of one or more notes.  For maximum
          "ring" of all notes it may, therefore, be desirable to remove
          the dowels.

          The mounting of the tone bar is extremely critical to the tone
          quality of the instrument.  When making any adjustments observe
          the following precautions:

                a.)  TREBLE hammers must strike the tone-reeds as near
                     to the throat, (tone bar flange) as possible without
                     wedging.  To permit accurate positioning, the tone bar
                     has been slotted.  (See Sec. 2.1)

                b.)  For proper resonance, the mounting bolts attaching
                     the tone bar to the supports may not be drawn up too
                     tightly.  The tone bar must be firm but not clamped
                     between the rubber grommets.  Tighten bolts while play-
                     ing instrument to determine proper bolt tension.

                c.)  Check all hammers to determine proper lateral position
                     of tone bar.  (See Sec. 2.2)

                d.)  Check all dampers for proper operation. (See Sec. 2.4)

     5.)  Installing a new tone bar:

          Observe all precautions enumerated above.  Be sure to mount tone
          bar between rubber washers.  Be sure to adjust dampers as required.

          Amplifier lead must be tightly connected to the pick-up bar, and
          the shielding grounded by a spring clip to the tone bar.

          Occasionally a new tone bar may result in reeds vibrating against
          the damper release bar.  In this case shave off damper release bar
          as required and/or bend spikes away from release bar (only if

     6.)  The Pick-up Bar can be the source of many electronic troubles.
          The plastic screws by which it is mounted determine the volume,
          (screwed in--low volume, out--high volume).  Excessive tightening
          will cause hammer "shock" noises, and may break the screws.  We
          recommend not adjusting the pick-up bar unless fully qualified.
          In the event of trouble we suggest exchanging the tone bar assembly.


     1.)  The amplifier assembly consists of four parts:  amplifier, speaker,
          tone pickup bar and output jack.  The amplifier is a straight,
          cascaded resistance capacitance coupled audio amplifier, working
          single-ended into speaker. There are three tubes consisting of
          one rectifier tube 6 x 5 to supply DC voltages from the AC line.
          One dual triode, triodes cascaded to supply voltage gain necessary
          to drive 6V6 beam output power tube.  Circuit is entirely conven-
          tional except for electrostatic pickup bar polarizing voltage and
          degenerative feedback which is incorporated on all tubes by leav-
          ing cathode resistors unbypassed to reduce harmonic distortion.
          Operation of amplifier is as follows:  a polarizing voltage is
          applied to tone pickup bar mounted on underside of plate, close
          to reeds, through an 18 megohm resistor.  The changing capacity
          in the pickup bar reed combination occasioned by vibrating the
          reeds in playing, causes electrons to pile up and recede at
          juncture of 18 megohm resistor and pickup bar reed.  This vary-
          ing voltage is applied through .01 capacitor to grid of 7F7 where
          it controls current flow in first section of 7F7.  The voltage
          which is occasioned by the piling up of electrons on the 18 megohm
          resistor is so small that it is further amplified in similar manner
          in that second 7F7 section--where it then drives the 6V6 output
          tube to give loud speaker volume.  The closer the pickup bar is
          set to reeds the louder will be the tones; however, resultant
          shock noises and slow motion movements of the reed limit gain,
          which may be accomplished by this means.  A satisfactory adjust-
          ment of the spacing is of necessity that one which is most plea-
          sant to the ear and which affords the same volume on all tones.

     2.)  For lowest HUM LEVEL the AC plug, (the wall plug attached to
          your Pre*Piano) must enter the wall socket one way only.  Try
          both possible positions and ascertain which gives you the lowest
          hum level.

     3.)  ADDITIONAL AMPLIFICATION (through your radio-phonograph, separate
          amplifier, etc.)

                Your Pre*Piano has a socket on the underside of the case on
          the aft right hand side of the instrument.  A shielded separate
          cord is available to plug into this socket in order to connect the
          Pre*Piano to any type of outside amplifier or radio-phonograph

                Depending on the application (radio-phonograph, separate
          amplifier or public address system) this cord may require special
          plugs, and for this reason it is considered an accessory.

                The standard 6ft shielded cord will carry part No. 239-11-1.
          Any special application may be prepared by your dealer, radio
          technician, or write to the factory.

                On the drawing supplied, some points have been marked "x"
          or "y".  The output jack connection "Y" is circled.  As it is im-
          possible to make a connection which is suitable for all re-ampli-
          fication requirements, one has been chosen which seems to us to be
          the most likely to be satisfactory.  Other points however have
          been marked on the drawing which might be more suitable in some
          applications.  All "y" connections would be for high impedance
          outputs.  Those marked "x" could be used for a cathode follower.

     4.)  Amplifier Troubleshooting:

                Many amplifier troubles can be repaired by a layman, some
          require a technician.  When troubles occur it is important to
          localize correctly the source between the three separate units:

                    a.)  Amplifier
                    b.)  Loudspeaker
                    c.)  Tone bar assembly

          Unless experienced personnel is available, we recommend exchanging
          any of the above three units which prove to be faulty, except that
          the tubes of the amplifier should of course be replaced separately
          if they are at fault.

                Distortion in the tone quality such as loud, resonant tones,
          sounds similar to mechanical rattles, fuzzy echos after striking
          tones, muffled hammer clunks are practically all due to maladjust-
          ment of the pickup bar which should be separated from the plate
          upon which it is mounted by pure rubber grommets and under suffi-
          cient tension to hold all parts firmly.  Too much pressure causes
          hammer clunking and too little pressure causes rattles due to
          pickup bar vibration.  The pickup should be held in place by
          plastic screws threaded into pickup bar.

                Resonances, however, which are identified by notes louder
          than others in bass section, may be due to breakdown of speaker
          cone; rattles also similar to pickup bar vibration may be caused
          by speaker cone breakdown.  To check for speaker cone breakdown
          hold cone of speaker firmly with hand while striking tones.  If
          rattle is eliminated, speaker change is advised.

                Mechanical rattles of loose parts, or screens in the piano,
          or rattle due to 7F7 touching plate or having loose elements in
          tube, may occur.  Correction: tighten loose parts or replace
          7F7.  7F7 rattles are usually identifiable and are described
          previously as fuzzy echo after striking tones.  Thumping 7F7 tube
          will duplicate sound you are looking for, if this is the cause.

                Some amplifiers have 6N7 tubes in place of 7F7's.  They are
          similar type tubes and directions for 7F7's also apply to 6N7's.

                A sizzling sound varying from that of frying bacon to the
          slow tick of an electric clock, is due to leakage in pickup bar,
          or pickup bar lead, or components in can #1.  To isolate trouble,
          remove pickup leads from pickup, turn amplifier full on.  If
          sizzling or ticking is still present, a radio technician is re-
          quired to repair amplifier.  If it does not persist, sound is
          due to poor insulation of pickup bar.  Rubber grommets should
          be of pure grade rubber as supplied by us.  Leakage may be due to
          dirt or to screw of main pickup connection being too close to
          metal.  Careful installation should correct trouble.  NOTE:  Due
          to high gain required, some frying or sizzling can always be
          detected.  This however is at a minimum when the instrument is
          shipped.  It goes up and down with the volume control and should
          not be objectionable when instrument is played.

                Hum may be picked up from other electrical equipment such
          as fluorescent lights, signs, etc, or may be due to breakdown
          of amplifier.  To minimize pickup hum, check screen in bottom
          of the piano to make sure it is grounded by bolt which passes
          through base of screen and has brass clip above amplifier bear-
          ing on amplifier chassis.  Be sure bolt goes through screen
          and that clip touches amplifier chassis.  Be sure tone bar is
          grounded by foil tape to tone bar supports over rubber mounting
          grommets.  If correction of these possible sources of trouble
          does not correct hum, disconnect tone bar from amplifier.  If
          hum still persists, trouble is in amplifier and radio technician
          is required.

                Acoustic feedback is a sound which grows in loudness after
          a tone or chord has been struck.  Violent rattle of the piano
          top may follow.  This may be corrected by the layman by making
          certain that the following clearances are observed:  top should
          not touch pickup cover cap or power transformer in amplifier.
          Volume control chassis should be free in hole.  7F7 tube should
          not touch tone bar.  Amplifier chassis should be loose, be
          rubber mounted and should not touch piano pins.  Pickup bar should
          not set too close to spikes.  Resonances previously discussed
          should also be corrected as they cause acoustic feedback.  Feed-
          back, though rare, may be due to faulty amplifier or loose
          elements in 7F7.  If all of the above precautions have not
          eliminated feedback, try a new 7F7.  If this fails, get a radio

                Low-Pitched vibrations of Treble Notes which decrease in
          pitch with the notes, are caused by hammers striking reeds too
          far out.  Correction is to move plate as far towards speaker as
          possible when locking in place.  Also adjust pickup bar for
          lower volume at extreme treble end.

                These low tones are also increased in volume by too much
          tension on plate mounting bolts.  Rubber washers under plate to
          some extent minimize the trouble.  On plates having rubber
          mountings, some control of the tone quality can be exercised
          by tensioning the plate mounting screws.  The results can be
          attained by playing the full keyboard, one note at a time,
          checking all notes by ear and adjusting tightness for a suit-
          able balance.  Locking treble end down tight will deaden
          extreme treble notes; locking bass end down will deaden middle
          treble notes.  A considerable degree of freedom for the plate is
          required to get optimum results.  Experimentation with the above
          suggestions should very rapidly make the layman quite skillful
          in bringing out the best quality of tone in the instrument.




Disconnect the two wires connected to output jack and the 2 wires connected 
to the speaker.  Extend the 2 speaker wires and solder them to the output 
jack mounts.  Other high impedance outputs shown marked "Y".  Cathode 
follower outputs marked "X".


     The mahogany case and key-ra1l are mounted to the Pre*Piano by
screws on the under-side of the base.

     To remove the case, remove the three mounting screws, remove the
volume control knob, grasp the corner posts with both hands and rotate
the case upward and toward you until it slips off the volume control and
is free.  Replace in the same manner by first inserting volume control
into case-aperture and rotating into place.

     Removal of the case is simplified by removal of the key-rail,
but this is not necessary.

     The case should require no servicing, except the normal care awarded
high quality furniture.


     No servicing should be necessary for the stand, with the possible
exception of the foot pedal assembly.  Excessive wear might cause
looseness in the bearing.  This should be corrected by drilling out
for a larger pin.


      (Only those parts which are removable and can, therefore, be replaced
are shown.  Standard hardware and felts are not listed.)

      DESCRIPTION                                           PART NUMBER

      Chrome stand assembly (includes seat)-----------------D5-288

      Seat (Chrome stand)-----------------------------------D5-288-8

      Pedal Rod---------------------------------------------1124

      Piano Assembly----------------------------------------239-1

            Piano Case -------------------------------------239-10

            Front Rail (Keyboard Molding)-------------------239-10-20

            Spacer Bars (Chrome stand mounting rails)~------B5-279

            Tone Bar Assembly-------------------------------239-13
                 Tone Reeds---------------------------------239-13-1 to 38

            Amplifier Assembly (including all electric
                 wiring--not including loudspeaker)---------ME3A


                 Loudspeaker--------------------------------6MGM 1

                 Cord (6 ft. shielded)----------------------239-11-1

      Piano Keyboard

            White Keys--End Keys     Bass-------------------239-15-1


            Black Keys

                          C# and D#-------------------------239-21-5
                          F#, G# and A#---------------------239-20-5

            Black Plastic Sharps

                          C# and D#-------------------------A5-277-1
                          F#, G# and A#---------------------A5-277-2

                          Key Buttons-----------------------239-17

      Felt Leveling Washers-----------------------------Commercial

Piano Action Assembly

      Hammer-Damper Assembly (includes dampers if
         required, and flanges)

                    Treble - no damper----------------------239-19-3

                    Intermediate - no damper----------------239-19-2

                    All Others (with dampers)---------------239-19-1

                    Hammer Flanges--------------------------1120-1

      Damper Release Bar (Chrome stand)---------------------B5-271

      Damper Release Bar (3-legged stand)-------------------239-22

      Damper Bar Pivots-------------------------------------1119

      Damper Release Bar Spring-----------------------------1126

Tonebar Supports

      Left hand (bass)--------------------------------------C5-296

      Right hand (treble)-----------------------------------C5-297

Piano Stand Assembly (3-legged wood)------------------------239-16

      Left Brace--------------------------------------------239-16-3

      Right Brace-------------------------------------------239-16-4

      Front Legs--------------------------------------------239-16-1

      Rear Legs---------------------------------------------239-16-2

Piano Seat (4-leg wooden)-----------------------------------256