Showing posts with label grand piano. Show all posts
Showing posts with label grand piano. Show all posts

Saturday 25 July 2015

How to Donate a Piano

Pianos are not the smallest pieces of furniture in the house. So  when the family piano is no longer used and taking up valuable space, often the thought is to donate the piano to the school, the church or the village hall. Anywhere it can be played and appreciated.  

While donating a piano to a school or college is a generous gesture, the kind of piano and its condition might throw a different light on the gift.

Institutions need any donated piano to be up to scratch, up to pitch and ready for continual and rigorous use without the school having to spend any new money. Pianos of a certain age will never be fully up to scratch, and pianos that are ripe for being donated are often pianos that are simply unloved and unwanted by the owners. In this age of trying to recycle everything, passing on a surplus piano seems a very 'green' thing to do! But not always the most helpful thing to do.

Being given a 'grand' piano seems like manna from heaven to an institution with limited funds. Surely a grand piano
 can be used for concerts and recitals - what can possibly go wrong? But alas, most of the pianos I have viewed on behalf of hopeful clients, have been poor examples of mediocre manufacture.

It is better to turn down the offer of a poor piano than to be obliged to take it and be forced into paying good money trying to make good an inherently bad piano.

Occasionally there are happy endings:
One was when a parent of a child at a certain school very generously bought a piano for the school. 
Another, an 'old' parent wanted to donate their 1970s Yamaha to the school and even paid to have safety casters fitted, the piano moved and tuned! 

This is how to donate a piano!

So if you are considering gifting a piano to a school of college, be doubly sure the piano would meet the demands expected and actually be a blessing to the school.
    

Tuner's Journal

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Pianology



Friday 24 October 2014

Regulation of a Grand Piano Part 2.

2. The 'lost motion' between the moving of the key and the hammer's beginning to move should be adjusted out using the pilot screw beneath the felt pad of the whippen foot. When at rest, the hammer shank should be about 2 mm above the hammer rest felt and the nose of the hammerhead is 47 mm from the strings. Some compromise will be required here, though, if both measurements cannot be achieved, favour the 47 mm hammer blow - try to get as close to this as possible.  



3. With the action in the piano, set the let-off point of a few sample keys to about 3 mm from the strings. The let-off point is the point at which, after the set-off, the hammer comes to rest on the repetition lever. (Often the set-off is so low that the let-off cannot be set. If this is the case, raise the set-off high enough to allow the let-off to come into play). I set sample keys every 5 notes - a major third and the notes in between. Holding 2 sample keys down, line up the let-off points for the 3 in-between notes.


4.Next job the set-off - this can be done on the work bench. The Set-Off is the point at which, when slowly depressing the key the hammer falls away from the string. This is the famous escapement taking place. Holding a key down (the hammer resting at the let-off point) set the neighbouring hammer's set-off point to about 1 mm above the let-off point. repeat across the keyboard.   

5. Regulating the check-off. This is where you simply play a note and hold the key down - the hammer comes to rest (having been caught by the back-check). The distance from the string cannot be fixed as a general rule. The crucial point is that the repetion lever is 'charged' and ready lift the hammer when the key - and therefore the back-check - is released. To achieve this the check-off point must be lower than the let-off point.

6. Regulating the repletion springs. When the key is held down after striking the string, the hammerhead is held by the back check. When the key is released slowly, the hammer should gently lift up to 6 or 7 mm. When the spring is too weak, the hammer falls away from the strings. Too strong and the hammer kicks up. The spring should be adjusted so that the hammer lifts gently. Sometimes the springs have to be bent in order to strengthen of weaken them, but sometimes there is a simple screw adjustment. This adjustment has to be made for all 88 notes! 
7. Regulating the dampers. This is perhaps the most demanding of stages in the regulation process. Some pianos have easy adjustment features but mostly, you have to set each damper to begin lifting from the string when the hammer is about half way up to the string. At the same time every damper should lift together when the pedal is operated. This is a trial and error issue and you keep going until you get it right.

Back to PART 1

© Steve Burden

Regulation of a Grand Piano Part 1.

Regulating a grand piano is not as simple as just taking accurate measurements and making slight adjustments. Many years ago I telephoned an Action Manufacturer to order some action parts and during the conversation I asked if there was a 'regulating manual' for their actions. I thought there must be some written instructions but the response was an emphatic: "No!" 

So we in the piano trade are left to make as much sense of regulating a piano as we can! Experience is important but having a keen sense of what works well and being dissatisfied with ignoring obvious problems is crucial if we wish to find success. There are good books which will explain what happen during the stroke of the key but not even these will help when correcting some of the many possible problems. Regulating work, even on new pianos, is not as simple as we might hope. 

Fortunately, there are principles which, when understood, form a structured approach to get the job done. The following is my own method for regulating - it is not the only way, but I have found it to work well on most pianos.

Please note: while regulating pianos, some improvisation is required to get the best out of any given piano.

Most actions work well if the depth of touch is 10.5 mm. and the hammer blow 47mm. 

1. First job is to level the keys and set the depth of touch - best done with the upper part of the action separated from the keyboard. With a set of lead key weights, place the weights on the front end of the white keys (front of the ivory key tops so the the keys are resting on the front-touch baises) and level the keys so that across the keyboard they appear perfectly in line. Any adjustments are made using paper or card washers under the front-touch-baise.

Then, for a few sample keys, attach the weights to the back check and measure the depth of touch at the front of the key (as compared to the keys with the weights still sitting on the front - I set sample keys every 5 or so white keys). Touch depth should be 10.5 mm.

This done, gradually transfer the weights to the back checks and level each of the white keys to be in line with the sample keys. This takes care of the white keys.

For the sharps: with the lead weights still clipped to the back checks, ensure that the top surface of the sharps, when resting on their individual front-touch biases are about 1 mm above the top surface of the white keys. Again, set a few sample sharp-keys ensure sharps are level and then proceed across the keyboard. 

Then, with a few sample sharps, attach weights to their back checks and set the height of the front end of the sharps to be 12 mm above the top surface of the white keys (These white keys must also still have the weights on the back end of the key). Using sample keys as a guide, continue to level all the sharp keys across the keyboard.

The upper part of the action is now screwed back onto the keyframe.

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Pianology

Monday 30 December 2013

A Good Piano

A good piano, wherever it is, appears to have an open invitation to any passing pianist to sit and play. Piano manufacturers like a Steinway, Bluthner, Bechstein, Fazioli, Bosendorfer etc. all have established reputations to maintain, and they continue to produce highly respected pianos which are greatly treasured by their owners! 

The search for a good piano usually eliminates the lesser-known, relatively inexpensive pianos. But many very fine pianos have faithfully served their owners and given hours and hours of music-making pleasure to all who appreciate piano music even though the name on the front may not be widely known.   

It is a mistake for pianists with more modest means, to think that buying a really good piano has to cost a fortune. For the more fortunate, no price is too much to pay for a particular piano. For most, the best piano available for a given cost will have to do. Interestingly, expensive does not guarantee 'good' and a low price does not always mean wasted money. There are so many variables with pianos that dogmatic generalisations are unhelpful. Seek advice where possible.

Popular opinion seems to prefer a grand piano over an upright piano. As a general rule however, a good upright piano is better than an average grand piano. A baby grand piano is chosen as much for its elegant looks as for its value as a piano. If you are wanting to spend a fixed amount of money on a baby grand OR an upright piano, almost certainly, the upright will be a better piano than the grand.

In days of old, to categorise grand pianos, odd names were used e.g. boudoir grands, semi-grands, cottage grands and mini grands. All had clear meanings when these pianos were sold originally, but today manufacturers generally distinguish their grand pianos by giving their size. The exceptions might be the terms Baby Grand and Concert Grand.

The very best pianos will always be expensive to buy. Most people manage to come to terms with the best piano they can afford. Dreams of one day buying a Steinway or something similar is a very worthy aspiration! Dreams - even dreams about pianos, come true!  
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Pianology

Sunday 29 December 2013

Erard Pianos

Born at Strasbourg in 1752, Sebastian Erard showed a remarkable capacity for learning. Even when he was just 8 years old, he was studying architecture and geometry. In 1768, his father died. At only 16 years of age, Sebastian took upon himself the responsibility to provide for his mother and 3 siblings. 
He travelled on foot to Paris, looking for work that would pay enough to support his mother back home in Strasbourg. He found work with a harpsichord maker who could not have known that he would be introducing an extraordinarily talented young man to his destiny. Sebastian quickly became passionate about the harpsichord, and, equipped with his natural curiosity, began probing the theories of harpsichord design. In a very short time his shrewd questions required far more sophisticated answers than his employer could supply.
The Duchess of Villeroy had engaged him to build a harpsichord, giving him the use of a well equipped workshop in her palace. It was here, in 1777,  he built his first piano. With growing confidence and with his ambitions taking shape, he opened premises in his own name in the ‘Rue de Bourbon’ Paris.  
Soon, an order was sent for Erard to make a piano for Versailles. Erard’s flourishing connections with the upper ranks of the French aristocracy securely established his reputation. With his natural abilities, his astute business brain and his connexions, he had become a formidable figure in Paris. 
At this time, the theories determining an efficient piano mechanism were not clearly understood, the only examples available to examine were still very primitive. It was Sebastian Erard with his meticulous attention to detail who formulated the principles of the modern grand piano action.
In 1786, he decided to move to London where he opened a shop at 18 Great Marlborough Street. Setting up a business in London was a golden opportunity to conquer a fresh market. Erard studied the English methods of piano manufacture, and was eager to adapt what he felt were the best methods and practices. He began producing his own pianos in 1792. 

The principles he laid down for the design of the piano mechanism, remain the basis for all modern grand piano actions. Despite the huge advances of technology over the 19th & 20th centuries, his work still stands as steadfast as ever. 

Universal approval of his work took some time to establish. Differing opinions are always interesting to read as they give some context to the debates of the time. Quoted here is an opinion that seems to have been judged more on issues of patriotism than on the objective merits of the case. 
Thirty-six years after Erard had died, a Heinrich Welcker, who did not like French pianos, wrote of the Erard action: “Generally speaking, the action manufactured by Sebastian Erard figures as the oldest and most highly praised sort. Indeed, it is difficult to understand how such a put-up job, combining neither durability nor precision, could possibly have been copied by others, show that Mr. Erard did not have much of a head for mechanical things, but perhaps a great deal of money for people to sing his praises”.
Sebastian Erard died in 1831. His legacy to the piano world was his work with the piano action. To this day, his action is used as the basic template for modern piano actions! Erard Pianos are sadly, no longer made.
Directory of Piano Makers 

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Saturday 16 November 2013

Top Piano Manufacturers

The top piano manufacturers like Steinway, Bluthner, Bechstein, Fazioli and Bosendorfer have established their well-deserved reputations by continually building great pianos. They use the best materials and production methods available and go about the business of building a piano using the unique traditions handed down by their founders as the basis for their pianos. The finished product is an inspiration for any pianist!

In any year, a manufacturer can produce thousands of the same model of piano, but no two of them are exactly alike. A particularly good piano will command a lot of interest and mysteriously, pianists will select it from among others to use for a recital or recording. 

There are plenty of superb pianos makers that would not be listed in the Super-League of Piano Manufacturers, but whose pianos are superbly put together and reward their owners with faithful and ruggedly reliable service year after year.  

In days of old, piano makers used to categorise the various sizes of a grand piano by giving names to the different size-groups, e.g. boudoir grands, semi-grands and cottage grands mini grands. All these charming names, seem to have had precise meanings when the pianos were sold originally, but now, these meanings are not so clear and certainly, the top manufacturers ordinarily categorise grand pianos by size.

The pianos from the top manufacturers will always be expensive to buy, and will need plenty of tuning to keep them sounding good. Most people manage to come to terms with the best of what their own piano can give. But, dreams of one day buying a Steinway or something similar is not so out of place. Ah! One day... 

© Steve Burden 

Sunday 11 August 2013

Bosendorfer Pianos - The Early Years

 There were many piano builders in Vienna in 1828 when Ignaz Bosendorfer began building his pianos.  At 19, Ignaz Bosendofer began an apprenticeship with the organ & piano builder Joseph Brodman.

When he was 34 years old he took over the Brodman workshops and set about improving their pianos. The Viennese pianos were traditionally mellow in sound with a light and easy touch of the action. Improving the construction allowed for heavier strings and a stronger action, thus making the tone much more like that of the modern piano. 

In the piano world, high quality speaks for itself - the rugged reliability of Bösendorfer pianos won the admiration of virtuososFranz Liszt, known for his formidable technique found it difficult to find a piano that could withstand his vigourous playing - until friends suggested he try a Bosendorfer Piano for his recitals.
Using a Bosendorfer, he was impressed to find at the end of the recital, the piano was undamaged! This sensational moment established the Bosendorfer Piano's reputation and their long association with Franz Liszt who wrote, “The perfection of a Bösendorfer exceeds my most ideal expectations...”
Bösendorfer Pianos were soon exported to the rest of Europe and overseas so that Bosendorfer became the best-known of all Austrian pianos.
About 1860, Ludwig Bösendorfer succeeded his father in carrying on the business and moving to a new factory in New Vienna. Bösendorfer had to move again ten years later to cope with the growing demand for Bosendorfer Pianos.
Directory of Piano Makers

© Steve Burden

Wednesday 24 July 2013

Bechstein Pianos - A short History

Carl Bechstein had a firm grasp of piano making while still a young man, he also had an acute understanding of how to use publicity to further his business. His first grand piano was built in 1856 - a piano on which Hans von Bulow gave a concert playing Liszt's piano sonata. This concert earned the Bechstein Piano universal praise, and thus Bechstein became a piano-making force to be reckoned with!

The following year, Hans von Bulow is believed to have written that, "Bechstein is, in my opinion, the foremost maker of grand pianos in Germany, although he has built only three so far..." In 1861, still seeking to further the cause of Bechstein Pianos, he wrote to Klindworth insisting that the Bechstein Piano be properly demonstrated at the upcoming International Exhibition in London.

Sure enough, at the 1862 London Industrial Exhibition, Bechstein was awarded the English Grand Prix. The pianos were described as "distinguished by outstanding freshness and breadth of tone, quality of play and uniformity of the different registers..."
The Bechstein Piano appealed to the musical elite and to numerous Royal Households. In 1881, a Bechstein Piano was sent to Queen Victoria at Buckingham Palace. In 1885 what was to become the largest dealership in Europe was opened in London. During the early years of the 20th century the list of royal clients grew to include the tsars of Russia and the royal families of Spain, Belgium, the Netherlands, Italy, Sweden, Norway, Austria and Denmark.

The annual production from the Bechstein factories grew steadily. In 1900, annual production was about 3,700 pianos. By 1910, this had increased to about 4,600. 

Bechstein Pianos still have the something of their 'freshness and breadth of tone'! The build quality is legendary and even today, many pre 1900 Bechstein Pianos are thought worthy of total rebuilding. The Bechstein Piano deserves its status as one of the foremost Piano Makers of all time.
 

Wednesday 22 August 2012

Broadwood Grand Pianos

Broadwood Pianos have been around since 1728. Not many examples of an 1860s Broadwood piano survive to this day, and even fewer of these are in good working order today. When new these pianos were stunning examples of high-quality, English craftsmanship. A hundred and fifty years takes quite a toll on a piano and ordinarily, I am not a fan of these relics of the 19th century but it is refreshing to be surprised by good examples when they are met with. I have come across 2 such pianos that deserve mention. 

1980s Broadwood Letterhead
One of the pianos must have been at least 7' 6" long - if you sat at the keyboard and squinted a little, you could just about make out the far end of the piano! I did not expect it to be up to pitch, but it was only a quarter-tone flat. The strings had been replaced at some point but the wrest pins were still the old, oblong ones that were fitted when new. One of the pins in the bi-chord section of the bass strings had snapped off, so instead of two strings on that note, there was only one.

The hammers had been recovered, but not terribly well - the high treble hammers jammed against the front edge of the wrest plank. Not too much of a problem for most players, but we fussy old tuners like all the notes to work! 

The rich colours of its rosewood case, made it a very fine-looking piece of furniture. The flat wooden pedals always look odd to modern eyes but at least they are the 'real thing' - if they had ever been replaced with modern pedals, it would no longer look the part.

The ivory keys were still white and still had a shine to them. Some were worn thin in the middle of the playing surface, but this is not surprising after more than a century of use. So often, the original ivories are yellowed with age, and more often than not a few of the originals have been replaced with ill-fitting substitutes.

So there it was, this remarkable old piano, in a charmingly renovated house that was even older than the piano, - a perfect setting for an instrument so well-preserved. The fascinating thing is that after 150 years, this piano is still regularly played, loved and appreciated. John Braodwood & Sons certainly knew how to build a piano that would last! 

The second piano is another grand - the serial number of this piano does not fit neatly into any of the categories listed in the Pierce's Atlas, but I reckon it must have been made about 1860. 

The case, for its age, is stunning - the rich Rosewood veneer still boasting the bold stripes of the grain. The polish has been preserved to the point that most would not think it in need of any particular attention.

But from a tuner's point of view, the most remarkable thing is that it is only a little flat in pitch - (I believe when this piano was built, the standard pitch was a little lower than A 440.) Over the years, 2 bass strings have been replaced, and couple of treble strings - apart from these, the strings are those fitted when new! A few treble strings are absent. The original oblong tuning pins still holding firmly in the original wrest plank! 

The piano is regularly used to accompany singers, occasionally for concerts but is always appreciated by pianists and audiences alike. Live music is still a wonderful social phenomenon that dates back to long before this piano was made.

The action is one of the odd incarnations of Broadwood's own design but still playing acceptably and capable of expression and colour. The tone is the one big give-away, but even here, the sound is extremely good for its type.

These grand old pianos are from a time when serious craftsmen built everything to last, a time when gentleman tuners wore hats. If I had a hat, I would take it from my head as a mark of respect, a salute to the beauty of  esteemed craftsmanship. These pianos are works of the piano-maker's art.   

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Sunday 17 June 2012

Prestige, Priorities and Pianos.

Imagine: a posh, exclusive hotel - the perfect setting for just about any kind of event - with extensive and flawlessly kept grounds, an award winning restaurant, golf courses, conference facilities... and a piano! 

In a corner of the dining room is a double-overstrung Ibach baby grand piano. It is not ancient, but if there were an 'MOT' Test for pianos, this one would fail. It needs re-stringing and a lot of careful rebuilding work before it could once again give worthy credit to the Ibach name.

In spite of its condition the piano plays fairly well, and though tuned rather infrequently, when it is tuned the tone proves the old rule that a 'quality' piano can sound good and play acceptably, even when it is in a bad state of repair. 

I was told that, at quite a considerable cost, the lid had recently been re-polished! Sure enough, the lid was beautifully French polished and looked as good as new. But am I alone in thinking the money was spent on the wrong part of the piano?

The guests pay good money to sit and eat in the 'award-winning' restaurant. Whether the top of the piano looks nice, is of no consequence to someone who cringes at the unharmonious sounds coming from the piano! I know I fuss about these things but a top restaurant is about good food - the clean plates and cutlery are taken for granted. Pianos made to look nice without a thought of what they sound like, is the same as serving poor food on clean plates.  

In such an exclusive hotel, where the best of everything is on offer, it is sad that a tired, old piano is considered good enough to entertain the guests as they enjoy award-winning food in such prestigious surroundings. 

Ah well, they might have got the piano wrong but at least they got the super-luxurious paper towels in the toilets right! 

To achieve an air of real class and prestige, surely the choice of piano ought to be a  little higher on the priority list!
© Steve Burden

Friday 8 June 2012

Schiedmayer Pianos

The first Schiedmayer Piano was built around 1735 - still early days in the history of the piano. It is not known how Balthasar Schiedmayer, who was born in 1711, came to be building pianos but his name would be associated with piano-making of distinction and excellence long into the 21st century.

By 1845, the business was based in Stuttgart and headed by Johann Lorenz Schiedmayer who brought his sons into the business and changed the name to Schiedmayer and Soehne. 

The younger sons of Johann Lorenz, Julius and Paul, spent some time in London and Paris and eventually established themselves in Stuttgart around 1853 building harmoniums under the name of J & P Schiedmayer.

In 1860, when the harmonium market was saturated, the shrewd business decision was taken to concentrate solely on building pianos and thus the business name was changed to Schiedmayer Pianofabrik. 

A while back, I worked on a Schiedmayer Grand. It was very old - I reckon it was made about 1895. I have commented elsewhere that I do not think anyone should spend serious money on pianos of this age. For this piano, a day spent regulating the action so as to make the best of its existing state was as far as I was prepared to go.

I was impressed that though so old, this piano still has all the qualities of a respectable and durable piano. Reassuring to know that a quality instrument such as this Schiedmayer, used daily, continues to sing out its piano music with a good deal of finesse even after more than 100 years.



Directory of Piano Makers


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