Piano and Music Videos

How to Buy a Piano:

– Check strings for rust particularly at the pins and hitch pins.

– Play the keys going down to the low notes. If you notice a change of tone of the copper wound strings compared to the steel strings, this can indicate problems.

– Check the soundboard by climbing under the piano or the back of an upright. If there are cracks you can see through this can be a problem. Hairline cracks are a normal part of the aging process in most parts of the country. Make sure the ribs are not detached from the soundboard at all. You can try to wedge a business card between the ribs and the soundboard to see if they are firmly attached.

– Wiggle the keys to see if the felt bushings cushion the keys. If you hear clicking, this indicates a worn action.

– Look at the hammers particularly in the treble section to see if there is much felt left. If the hammers are heavily grooved and flattened, they can be reshaped through filing provided there is enough felt to work with.

– If the piano is wildly out of tune, find notes that are particularly bad. Pluck the 3 strings of the note while holding the key down to hear which one is lowest. If you find other notes with strings that have dropped in pitch, see if they form a straight line at the pins. This could indicate cracks in the pin block which requires rebuilding of the piano.

There is really no ONE part of a piano that is more important than all of the others; however, there are TWO pieces of a piano that are absolutely fundamental to the health of the instrument.

The first piece is the cast iron plate. Structurally, the plate needs to be solid for the health of the instrument. There are over 20 tons of string tension exerted onto the plate – its integrity is essential for the proper function of a piano.

Can piano plates crack? The answer is yes. It is very rare to find a cracked plate, however, there are certain models and designs with thin sections of the plate which are prone to cracking. Also, a piano that has been dropped may suffer cracks in the plate.

If you are looking to buy a piano that has a cracked plate, it can be a deal breaker. It can be like buying a house with a crack in the foundation. It’s usually fatal unless the crack is on the perimeter of the plate and is self-contained.

This is an excellent question. Sometimes bigger is not always better when it comes to putting a piano in your home. There are occasions when too big of a piano can cause too much volume yet having a piano that is undersized for the space can create too many demands for the instrument. This video and article will explain how to tell what size piano is right for you and your home.

There are two things involved in selecting the size of your piano: the volume of air in the room and the acoustic properties (or the number of reflective surfaces you have).

The general rule when it comes to pianos is that all things being equal, bigger is better. It’s especially crucial for experienced players to have a large grand to practice on because you will most likely be performing on 7 or 9-foot pianos in performance and it’s always easier to transition to a smaller piano.

In my loft, I practice on a 9-foot concert grand (Baldwin SD-10). There is a lot of volume to the room – the ceilings are very high, and there is a lot of open space – and the acoustics lend very well to a larger piano. However, I used to live in a house and would practice on the same piano – it was in an enormous room and had vaulted ceilings – but when I practiced I would need to wear a pair of earplugs at times because the sound was just too much to handle.

Now on the other side, you can have a piano that is too small for a room. As a result, most players will only play harder to get more sound out of it. Playing too hard on the piano will cause the piano to age prematurely – I have seen this many times before in schools and churches where the piano is undersized for the space.

If you have a small room with very high ceilings – let’s say 20 feet tall – you can have a much larger piano because you have a tremendous amount of air in the room. On the other hand, if you have a larger room with low ceilings, you might need to get a smaller piano.

If you have a room with carpet, drapes, and soft furniture, that will tend to absorb a lot of the sound of the piano. If you have hardwood floors and not much in the room you will have a lot more reflective noise generated.

The best thing to do is stand in the room you plan to put your piano in and clap your hands. See how much sound you get. Sing a little bit – does it seem like your voice is enhanced (like singing in the shower)? If you tend to get more sound by clapping, talking, or singing in your room you have a loud room; you will probably be able to get by with a smaller piano.

Now if you want to have a larger piano and you have a loud room, there are ways to fix this. You can put a rug under your piano and cut down on the sound quite a bit. You will certainly tell the difference in the amount of noise coming out of the instrument. Remember, half the sound of the piano is generated underneath the piano from the soundboard.

Thanks again for watching and reading. Hope you enjoyed this information and please, keep those questions coming!

You may have heard this term before, but you might not know what it means. It is a very important thing to understand when you are looking at pianos.

Perhaps you have visited a piano store and seen lots of American names on pianos but few – if any – are what they appear to be. Many of them are undoubtedly stencil pianos.

The business of stencil pianos goes way back. In fact, many of the leading piano companies used to have second lines of pianos called OEM pianos (Original Equipment Manufacturer) that they sold to piano stores. The stores would then put their own brand names on the pianos.

Today, stencil pianos have become a huge part of the piano industry. With only 2 major piano manufacturers left in the United States (Steinway and Mason & Hamlin) and 1 smaller company (Charles Walther), there are only about 2,000 pianos manufactured in the United States every year.

However, if you walk into a store you will probably see dozens of American piano manufacturer names on the pianos. These are almost all stencil pianos and they are mostly produced in China and Indonesia (and some in Korea). The pianos are bought from the manufacturer and a familiar name is put on the piano in order to make customers more comfortable.

For example, You might see the Baldwin name on a new piano in a store. However, when Gibson bought the Baldwin piano company a few years ago, they shut down the American piano plant. They then bought the Dongbei Piano factory in China. Ever since they have been importing these pianos from China and putting the Baldwin name on the front of them. So for about 1/5 of the cost of an actual American made Baldwin piano you can own a new Chinese “Baldwin” which looks pretty much the same.

However, even though the pianos might look the same, they are far from the same piano. These pianos manufactured in China and Indonesia are good choices if the piano is mostly for furniture or for the casual player. But they won’t hold up well with rigorous use and would rarely get passed down from generation to generation.

Many piano dealers will use certain techniques to market these stencil pianos and make them seem like there is something special about them. For example, Steinway has done an excellent job of marketing their stencil piano brands – Essex and Boston. Essex is a Chinese piano made by Pearl River and Boston is an OEM piano sold to Steinway but produced by Kawai. The Steinway piano name is so popular and well respected that people will pay thousands of dollars more to buy something with the Steinway name somewhere inside it as opposed to just buying the piano directly from the original manufacturer.

Keep in mind, many experts recommend buying an original manufacturer piano as opposed to a stencil or OEM piano. There are two main reasons for this: one, no manufacturer would ever sell a better product to a competitor than they sell themselves; two, when it comes to stencil pianos there is always a middleman, so you will be paying more than simply purchasing the piano from the original manufacturer.

Buying a piano in the under $1000 price point presents tremendous challenges. Years ago the only choice was to buy an old upright. Today there are digital pianos that can offer an alternative. Which is a better choice?

While there are many digital pianos on the market for well under $1000, plan on spending $800 in order to get a good weighted action and sound. Yamaha in particular has many models at that price point that are quite good. In fact, spending more offers more features but not necessarily a superior instrument. The exception is the quality of the built in sound system which makes a huge difference in the more expensive models. If you invest in a good stand for stability and utilize a decent quality home stereo system or good computer sound system with sub woofer, you can get very good results without investing thousands of dollars for a high end Clavinova or other digital piano.

No digital piano has the nuance of expression and refinement of touch of a fine acoustic piano. However, most pianos under $1000 require extensive work in order to achieve a high level of playing. However, you may find a high quality console piano that has been sitting in a living room for a long time without being played much. These instruments have fallen out of fashion so sometimes you can find a fine used piano like a Baldwin for a few hundred dollars. Plan on investing at least $100-$300 for regulation, voicing and tuning.

Which offers a better practice instrument? There are advantages to both. A new digital piano will be precise. It also offers the option of practicing with headphones. You can also connect it to your computer for all kinds of applications from music notation to sequencing of compositions with orchestrations utilizing different instrument sounds. It is also portable so you can take your music with you.

The acoustic piano has the benefit of an almost infinite range of expression. While digitals keep getting better, the complex action, interaction of harmonics, pedal subtleties and expression can be invaluable to an aspiring pianist. If you are taking lessons or are considering taking lessons, it is important to invest enough to achieve a minimum level of performance. Otherwise, I suggest you are better off with a decent piano and no lessons rather than an inferior instrument and lessons. Practicing on a bad piano or inadequate digital piano can make lessons unproductive and become a frustrating experience. We are fortunate at this time in history to have a choice of acoustic or digital pianos.

There are many things to consider when purchasing a piano. The action is certainly important. The complexity of all of the parts working together in precision is awe inspiring. Interestingly, the action is the one part of a piano that can be restored to like-new condition to the vast majority of pianos. Of course, the level of performance is relative to the quality of the original design and manufacture. Many companies produce first-rate actions.

It is rare to replace an action. When you hear of people utilizing Renner action in a rebuilt piano, they are not putting in a new action, they are replacing all the worn parts. This accomplishes exactly the same results, but rarely do keys, keyframe and the basic structure deteriorate at all. (However, it could be possible with water or fire damage.)

The action is comprised of different elements that wear at different rates.

Bushings: The keys pivot on rails in the front and back of each key. Around the rods are felt bushings. In time the felt becomes compacted and there is play in the keys. The front rails can be turned to achieve tighter tolerance since the rails are not round. Eventually the key bushings need to be replaced when there is too much play.

Hammers become worn from hitting the strings. The felt becomes compacted at the point of impact with the strings. They also become somewhat flattened out in time. They can be reshaped with filing and voiced by needling to get uniform tone. Eventually after many filings there is no more felt to work with and the hammers must be replaced.

Hammer shanks and knuckles: Sometimes the joint that the hammer pivots on (the knuckle) becomes worn to the point that the hammer doesn’t hit the strings in exactly the same point each blow. That is when it becomes necessary to replace the knuckles and shanks.

Dampers: Above the strings are the dampers. When the felt becomes hard, noises and inconsistencies in the termination of notes results. Often these problems can be regulated, but there comes a time when optimum results aren’t possible without replacing the felt.

Back check: There is a leather piece that engages the hammer after the key is pressed. If the felt becomes hard, it can be roughed up to avoid excessive noise. If the leather is too hard it must be replaced too avoid action noise.

Felt action rail and key punchings can harden and replacing is desirable.

Whippen: Now here is where it gets interesting! There are around 100 parts to the action and all the rest of them come pre-assembled in a piece called the whippen. So when rebuilding an action to new condition, there is nothing more to do than what I have listed.

First-rate parts are available from a variety of companies. The important thing is using the right parts that match the original specifications. When this is done, the performance of the action is indistinguishable from a new piano. When you hear of a “New Renner Action”, they don’t actually put in a whole new action, they are using Renner parts to rebuild the action.

Are the newer composite materials utilized in many Asian pianos superior to the traditional wood parts? Here is one clue to the answer to that question. Both Yamaha and Kawai use synthetic materials in their actions. However, their best pianos, Yamaha S series and Shigeru Kawai have all wood actions. In fact, other than Mason & Hamlin which is utilizing the questionable practice of sourcing pre-assembled composite actions and plates from China, no handmade piano uses synthetic materials in their actions!

The fact is, there are aspects to a piano that is fundamental to the quality of the instrument. Even the best action will wear out and need attention over time. But the soundboard, scale design, rim materials, bridge composition, string tension, and plate manufacturing process are intrinsic to the quality of the instrument. These things cannot be improved. So, when looking for a piano as a long-term investment, this is what is most important. That is why a hand-built piano cost more and are more valuable over time. It is also why it is not advisable to rebuild Asian production pianos. There is limited potential for what results are possible. Over time the basic structure of these instruments deteriorates because of the design and materials utilized in manufacturing allowing for the right price for mass marketing.

Robert Estrin
949-244-3729