Neo-Bechstein

Improvising upon an electrical prototype by Oskar Vierling, the design was executed around 1922,[1] and the first of the set was marketed in 1931 to critical acclaim.

[9] This led to the usage of usual-sized hammers which struck a rail and which in turn drove a much smaller micro-hammer into the string itself.

The right pedal acted upon the amplifier[11] and controlled the volume levels, which – coupled with the increased sustenance power of the instrument due to its lack of a sound board – gave rise to organ-like expressive possibilities.

[13] The instrument ushered in a new stage in acoustics development, wherein microphones and loudspeakers functioned well enough in stand-alone manner to be exploited for different approaches at the same time (reproducing and supporting).

[1] Nernst sought a single cash payment for his design but instead received a royalty-fee offer from Siemens and Bechstein.