Client Voices
Every instrument has a story.
Here are the ones brought back to voice.
Home Studios & Private Teachers
Yamaha U3 Upright
“Edmund arrived with nothing but a lever and a strip of felt, and two hours later my old Yamaha sounded like it belonged in a recital hall. My students noticed immediately — they started playing more musically the same week.”
Margaret Holloway
Piano Teacher, ABRSM Examiner
Kawai K-500
“Three of my students passed their Grade 8 exams this term. I attribute some of that to simply having a piano that holds pitch through a two-hour practice session. Edmund's quarterly service schedule has been transformative.”
Patricia Dunne
ABRSM Prep Studio
Steinway Model M
“He identified a cracked bridge pin that I'd been ignoring for years — the instrument had been slightly flat in the upper octaves and I'd never traced it. Fixed in the same visit.”
Thomas Aldridge
Home Studio
Houses of Worship
Steinway D Concert Grand
“Our Steinway D fills a 2,000-seat nave. When it's even slightly off, the congregation feels it in their bones. Edmund understands the acoustic stakes. He's the only technician we trust with our quarterly service.”
Reverend Daniel Osei
Worship Director, Grace Cathedral
Bösendorfer 225
“We host a visiting concert pianist every Advent. Edmund does a pre-concert regulation the morning of the performance. The feedback from artists has been uniformly exceptional.”
Sister Margaret Calloway
Music Director, St. Bridget's
Baldwin L Grand
“The humidity swings in our sanctuary were destroying the soundboard felt. Edmund installed a full Dampp-Chaser system and the piano has been stable through two winters now.”
Pastor James Whitfield
First Presbyterian Church
The tuning pins of a nine-foot concert grand — each one tensioned to within half a cent of A-440.
Schools & Universities
14× Yamaha B3 Uprights
“We have fourteen practice hall uprights that get six hours of student use daily. Edmund manages a rotating service schedule that keeps every instrument at A-440 through exam season. The conservatory standard we needed.”
Dr. Nadia Okonkwo
Head of Keyboard Studies
Steinway B Semi-Concert
“Our recital hall Steinway had developed a persistent buzz in the middle register. Edmund found a loose strut brace under the soundboard and had it repaired before our spring showcase.”
Marcus Chen
Music Department Chair
Hammer felt after reshaping — the difference between a bright, percussive attack and a singing tone that carries.
Estate & Auction Assessment
1924 Chickering & Sons
“My father's 1924 Chickering hadn't been touched in eleven years. Edmund spent four hours on it — pitch raise, hammer voicing, sticky jacks freed — and then played a Chopin nocturne to demonstrate what it could do. I wept.”
Caroline Fairfax
Estate Executor
Bösendorfer 170 Imperial
“The estate agent said the Bösendorfer was unplayable. Edmund's written assessment gave us the restoration pathway, the costs, and the auction value at each stage. The instrument sold for three times the estimate.”
Robert Harcastle
Estate Executor
A 1924 Chickering soundboard — crack-free after a century, waiting only for its hammers to be voiced.
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