About 20 years ago, I was searching for a new piano and saw a Knabe. And I think it was a 1927, and I fell in love with it, and I couldn't afford it. I was a kid, just out of school. So let it go. But then when I was ready to purchase again, I came across Paul. Walking around the store, we're talking a little bit, I didn't see any on the floor. And then he took me upstairs where they're just piled up. And and we looked around and I was very skeptical at first because here's this piano laying on it's side in terrible condition, however he managed to find it. But he just had a great deal where you could pay half, he'll work on it, could see if you like it, and it just worked perfectly. You only have to put down a deposit. He restores the piano, you get to see it finished before you actually make a commitment to pay the balance and have it delivered. You get to play it. He will tweak it. And then, you're not committed in any way. If you didn't like it, if it didn't sound the way you want it to, if it didn't look the way you want it to, you could either choose to have another piano restored or you can get your money back and he'll sell the piano and probably put it I guess in the showroom and sell it here. But you really weren't locked into any commitments. I guess if you know the pianos of that era, you have confidence that they could be restored, and you know the quality is there, and if you pick the right restorer, I guess. And Lindeblad's came well-recommended. I guess it was probably the fact that they brought me into the warehouse, and we didn't just talk about a piano or that kind of thing. We went up and dug through them, kind of thing. I think that was kind of neat. It made a more personal, I guess. First of all, I was looking for something affordable. I'd loved everyone I've ever played. I liked the sound. I don't know, I always felt if I came across one and I played it, I'd say, oh, it's one of these again. I could've said OK, no, I don't like this piano, and let's look at something else. And they would have restored another one for me. So I guess it was the deal that we struck that really kind of clinched it. Because why would you purchase a piano that's laying on its side and dusty dirty. Right? You'd want to see it finished. You'd want to be able to play it. I walked in here, actually, on-- oh, I'll hit Lindeblad on the way someplace. Figured I'd spend five minutes looking through the showroom, talking to somebody. I ended up here I think two hours. Brought my husband back, we went back upstairs into the warehouse and that kind of thing. And I guess it was all of the discussions, the family business, been in business for generations, passing down the craftsmanship, that kind of thing. I guess talking through all of that was probably what gave me the confidence. I didn't feel like it was a great risk for two reasons. I guess because the piano, I knew it was from that era. And the system that Paul has in place. Any time you restore, I guess, anything to this extent, where there are so many new moving parts-- and of course that's how a piano is, a million moving parts-- it has to settle in. I guess it was probably of a couple of months in that I started to notice some clicking sounds, and I thought maybe it was loosened felt or something like that. And sent a technician out, and he took away my entire keypad. It disappeared for a couple of days. And it was back better than ever and tuned again. And great service, easy, simple. I came and played it a little bit and we talked about voicing and the warm sound versus the bright sound. I'm more of a warm sound person. And regulated it or voiced it to that style. First, just seeing it, he did a beautiful restoration job with the cabinet. When I first saw that, I walked in, I saw the finish and I was like, ahh, it's just beautiful. It's perfect. And of course, the piano looks better initially. I was also surprised at what he could do with the ivory keys, because they are the original ivory keys for the most part. I think he maybe had to repair one or two. I defy you to find them. I have meetings at my house. Other music teachers come for various organizations that I belong to, I'm on the board of. And we talk about it, we play it. I was mention that Paul Lindeblad restored it. He really took the time to listen to me. Most other places I went to wanted to sell me a piano that was in the showroom. That wasn't the way with Paul. He was-- what are you looking for, and how much do you have to spend? Let's look in my inventory list and see what I've got. And come take a look upstairs. He's got great knowledge about this because he's the one who goes and finds them. And he could tell me a little bit of history about it even because it's personal for him. We went to back in the workshop here, just the little workshop that's right behind the studio. Just watching them work, meticulous, careful. If you're a creative person, whether it's restoring or building a new piano, I imagine, you're creating something that's special. I can imagine that there's great satisfaction in that.