-----Original Message----- From: pianotech-digest <owner-pianotech-digest@ptg.org> To: pianotech-digest@ptg.org <pianotech-digest@ptg.org> Date: Tuesday, May 04, 1999 6:08 AM Subject: pianotech-digest V1997 #1674 > >pianotech-digest Tuesday, May 4 1999 Volume 1997 : Number 1674 > > > > >---------------------------------------------------------------------- > >Date: Mon, 3 May 1999 22:36:54 -0500 >From: "John M. Formsma" <jformsma@dixie-net.com> >Subject: RE: Killer Octave > >Thanks for this info. One nevers knows until he asks. Now I know. :-) > >John Formsma > >- -----Original Message----- >From: owner-pianotech@ptg.org [mailto:owner-pianotech@ptg.org]On Behalf >Of David ilvedson >Sent: Monday, May 03, 1999 9:05 PM >To: pianotech@ptg.org >Subject: Re: Killer Octave > > >The first treble section where it is hardest to get tone, hence >'killer octave". > >David Ilvedson, RPT >Pacifica, CA > >------------------------------ > >Date: Mon, 03 May 1999 20:40:35 -0700 >From: Tom Cole <tcole@cruzio.com> >Subject: Re: Tightening coils on sloppy restringing > >Brian Trout wrote: >> >...The thinking behind what I've >> been doing is to let the becket (the end of the wire that is) stick out of >> the hole aprox. 1/2 the diameter of the wire, not to exceed the diameter of >> the wire. What that leaves me with is a wire end that acts as a kind of >> stop for the coil and when it's lifted it keeps the coil from coming up too >> far. > > >Brian, I used to do the same thing. It made sense to me, not having been >formally trained, to leave the becket a little "proud" of the tuning pin >to use as a backstop for when I lifted the coils. However, I did notice >that most factory stringers didn't do this and it finally dawned on me >that my little time-saving piece of wire was disturbing the natural lay >of the helix. > >If you look closely at a coil, the top turn normally covers half of the >hole, going around the back side, and if the becket protrudes, it causes >the coil to tilt. Not a problem for tuning or stability, probably, and >there _are_ instances where you _do_ want to tilt the coil (where the >string goes up sharply to the first bearing point) to ward off a >tendency to overwrap. > >I eventually came to the conclusion that, ever striving to do "the best >job possible", the coil should be in a relaxed position. It appeals to >me aesthetically and I think that there is no question of tuning >stability with this kind of approach. > > >You also asked about a measuring guage. I'm sure Jon has a >well-thought-out solution but, FWIW, I take a couple of turns of one end >of a copper electrical wire around the handle of my wire cutters. I run >the other end up toward the cutting jaws, securing it with duct tape, >and bend it away at a 90-degree angle, ending 3" away from the jaws. The >results are very consistent, 3-turn coils. > >Tom > >- -- >Thomas A. Cole, RPT >Santa Cruz, CA >mailto:tcole@cruzio.com > >------------------------------ > >Date: Mon, 3 May 1999 23:55:14 -0500 (EDT) >From: Stephen Birkett <birketts@wright.aps.uoguelph.ca> >Subject: Re: Killer Octave > >John wrote: >> Thanks for this info. One nevers knows until he asks. Now I know. :-) >> >to David's script: >> The first treble section where it is hardest to get tone, hence >> 'killer octave". >> >Ha ha. But which octave is that? Or is it like saying exactly where the >beach starts and the dunes end? > >Stephen > >Stephen Birkett Fortepianos >Authentic Reproductions of 18th and 19th Century Pianos >464 Winchester Drive >Waterloo, Ontario >Canada N2T 1K5 >tel: 519-885-2228 >email: birketts@wright.aps.uoguelph.ca > >------------------------------ > >Date: Mon, 03 May 1999 20:54:51 PDT >From: "Jay Mercier" <jaymercier@hotmail.com> >Subject: grey market? > >I don't completely understand the term "grey market pianos." Is it >referring to any piano sold from a wholesale warehouse? I was recently >asked to find a "decent piano" for an older lady who wanted to donate it to >the local retirement home. To make a long story short, I ended up with a >1990 Kawai CA-40 Grand, purchased through a local dealer who purchased it >from a dealer in Chicago. It was listed with hundreds of pianos out of the >Chicago dealer, but shipped from California. Took 3 weeks to ship to the >local dealer - they didn't touch it - and immediately delivered it to the >retirement home. I was a bit nervous but to my amazement this "A" listing >of a piano impressed me. Absolutely flawless for about $11,000. It needed >no regulation and I told the home that the tuning could wait for a month. >The local dealer mentioned that he too was surprised on the condition and >said it arrived in better shape than some of his new YC's and Webbers. This >piano had not one flaw that I could see ------- Now.......is this a grey >market piano? > >Jay Mercier >Piano Technician >Glenwood, MN > >> >>I tuned a kawai KG-1 today. It's a gray market piano...two pedals. >>There was very little let-off and in some cases, no let-off. >> >>Anyone hear of possible "growing action brackets" in Kawais in a manner >>similar to Webber action brackets? >> >>This women paid $6,000 for this piano. It needs regulation and has very >>marginal tuning pin torque. We have a tech around here who sells these >>gray market pianos. Unfortunately, most of them that I service need >>work...especially the grands. I'm sure the women is none too happy. >>She's had the piano one year. >>-- >> >>Frank Cahill >>Associate Member, Piano Technicians Guild >>Northern Va > > >_______________________________________________________________ >Get Free Email and Do More On The Web. Visit http://www.msn.com > >------------------------------ > >Date: Tue, 4 May 1999 00:18:39 -0400 >From: "Brian Trout" <btrout@desupernet.net> >Subject: Re: Tightening coils on sloppy restringing > >Do you also try to have the beckets all in the general same >area from pin to pin? That also is a sign of high quality >stringing. Just before first chip tuning I go through and "rob >from Peter to pay Paul" between the two pins where >necessary. You may very well have meant the above when >you wrote "I try to make the becket come out of the hole >uniformly". > >David Ilvedson, RPT > > >Yes, and perhaps. I do try to make the beckets line up, sort of like a >bunch of little toy soldiers. : - ) I like the way it looks. > >Actually, what I meant was that I try to make the wire come through the >tuning pin to exactly the same point so as to not have one not sticking out >at all, and the next sticking out 1/4 inch, well, I'm exagerating... > >But I'm glad the thread came up. I've been doing some thinking, and with >input from many of the fine rebuilders here, I'm starting to see the light >in making the end of the wire just even with the side of the tuning pin >instead of letting it stick out slightly. It's one of those things that I >just didn't think through before. > >And thanks again to all who have contributed to this thread. I learned >something. > >Best wishes, > >Brian Trout > >------------------------------ > >Date: Tue, 4 May 1999 00:24:40 -0400 >From: "Brian Trout" <btrout@desupernet.net> >Subject: Re: Tightening coils on sloppy restringing, Tom > >Tom wrote: >>Brian, I used to do the same thing... > > >Thanks Tom, > >Sounds like our thinking patterns are pretty similar! I sure do like the >discussions around here. Seems like I'm always learning something... (keeps >life interesting!) > >Take care, > >Brian Trout > >------------------------------ > >Date: Mon, 3 May 1999 21:57:19 -0700 >From: "David ilvedson" <ilvey@jps.net> >Subject: Re: Killer Octave > >Ha, ha...around note 56 and up an octave. I would say thats >where the dunes begin... > >David Ilvedson, RPT > >> John wrote: >> > Thanks for this info. One nevers knows until he asks. Now I know. :-) >> > >> to David's script: >> > The first treble section where it is hardest to get tone, hence >> > 'killer octave". >> > >> Ha ha. But which octave is that? Or is it like saying exactly where the >> beach starts and the dunes end? >> >> Stephen >> >> Stephen Birkett Fortepianos >> Authentic Reproductions of 18th and 19th Century Pianos >> 464 Winchester Drive >> Waterloo, Ontario >> Canada N2T 1K5 >> tel: 519-885-2228 >> email: birketts@wright.aps.uoguelph.ca >> >> > > >David Ilvedson, RPT >Pacifica, CA >ilvey@jps.net > >------------------------------ > >Date: Tue, 04 May 1999 01:59:42 -0400 >From: fdube@vianet.on.ca >Subject: dealers > >I'm curious about the dealers who have been offering those 'near new' >Yamaha pianos, that come to the U. S. by the container loads,and are sold >the same way... Apparently a few of these fellows have been at the NAMM >show offering these "near new ' Yamahas . >Are they any good for tuner/techs to offer to say piano teachers? I would >like to be able to get one for a teacher. Apparently in the Toronto area, >there are a few fellows who have puchased these pianos by the container >load and can offer them at a good price. If anyone can help me in this >regard it would be appreciated. > >Francis Dube, RPT. > >------------------------------ > >Date: Tue, 4 May 1999 02:27:48 -0500 >From: "Richard Moody" <remoody@easnet.net> >Subject: Re: Tightening coils on sloppy restringing > > >The thinking behind what I've >> been doing is to let the becket (the end of the wire that is) stick out >of >> the hole aprox. 1/2 the diameter of the wire, not to exceed the diameter >of >> the wire. What that leaves me with is a wire end that acts as a kind >of >> stop for the coil and when it's lifted it keeps the coil from coming up >too >> far. > >I find that the coils that are the neatest ride up almost OVER half the >hole in >the tuning pin and ONLY half (or a little less) That if the wire extends >through the hole in the pin as to stop the coil from ridding up, the coil >cannot be gotten as neat as if it can nudge a little past the hole. > Look at any piano with original strings. Tell me which ones do not cover >half of the hole and I will show you ten that do. >Ric (the c stands for coils) >- ---------- >> >> Jon wrote: >> >Why do you want the wire to stick out of the pin? It makes a sloppy >looking >> >job, >> >& serves no purpose. If you really wanted to be fastidious, you would >make >> >certain the wire goes the whole length of the hole >> >but does not extrude. >> > a neater job is derived by nothing sticking out. >> > >> >> Well, to be honest, I'm not sure where I got the idea from. . What >that leaves me with is a wire end that acts as a kind >of >> stop for the coil and when it's lifted it keeps the coil from coming up >too >> far. > >------------------------------ > >Date: Tue, 4 May 1999 03:33:35 EDT >From: JCCORDOGAN@AOL.COM >Subject: Re: grey market? > >This is the most thorough and accurate explanation of bootleg/gray market >pianos I've ever seen. --John > >FAQ'S ABOUT "GRAY MARKET" OR "BOOTLEG" >JAPANESE PIANOS > >Q: "What are bootleg pianos?" > >A: Bootleg pianos are pianos that are transshipped into a geographic >region other than the one for which the piano was specifically designed and >manufactured. > >Q: "Why are they in the United States?" > >A: Because there is a great demand in this country for used, >Japanese-made pianos, while there is an almost non- existent availability of >legitimate, U.S.-used Japanese pianos. > >Q: "How do they get here?" > >A: It started about 10-12 years ago as an experiment in getting rid of >excess inventories in Japan. Most of them are shipped in by companies that >had previously been in the business of importing other Japanese products. >Bootlegging has gained in popularity as the Kawai and Yamaha names have >become the brands of choice. > >Q: "Why are there so many of them available overseas when I can't find >any here?" > >A: Well, first of all it is important to understand that "overseas" >refers specifically to Japan. This distinction is made because for many, >many decades, Kawai and Yamaha have dominated the Japanese market with >virtually no competition from competing nations or manufacturers. >Conversely, Kawai and Yamaha pianos have only been sold in the U.S. since the >early sixties with a tremendous amount domestic and foreign competition. It >stands to reason that far more Kawai and Yamaha pianos are bound to become >available in Japan with the kinds of numbers they have produced through the >years in Japan.. Other contributors to the glut of used Kawai and Yamaha >pianos available in Japan include: > 1) . . . the resistance to buying a used piano in Japan >by Japanese families. Unlike in other areas, the selection and purchase of a >family piano is one of the most vital purchases a Japanese family makes -- >far too important to condescend to buying a used one. > 2) . . . damaged pianos. If selling a used piano to a >Japanese family is difficult, try selling a damaged one. While Americans >might welcome these discounts, Japanese families often don't consider it an >option. > 3) . . . trading up. Their success with and dedication >to musical studies as a country is far greater than almost anywhere in the >world which leads to more trade ups, even if it requires dedicating more >space in their small homes than most Americans would ever consider allocating >in their living rooms. > 4) . . . universities. Unlike in the U.S., practice >rooms in Japanese conservatories are open 24 hours a day, seven days a week. >The fierce competition amongst the students along with the limited number of >practice rooms available require the practice pianos to be used up to 24 >hours a day, seven days a week. This kind of wear is exponentially greater >than a residentially-used piano. These pianos get traded in every five to >ten years for identical new ones. This process keeps the university's >maintenance down and also helps in the recruiting of new students (with the >promise of there being new pianos in the practice rooms). > There are few takers for these pianos in Japan, despite the efforts >to sell them by reducing their costs to a fraction of a new one. So they get >a makeover and get shipped to a market where they can be sold more easily -- >the U.S. > >Q: "Who buys them?" > >A: Most often it is the piano stores who are not Kawai or Yamaha >dealers. Kawai and Yamaha are powerful names in the marketplace who >represent a large portion of all new pianos sold in the U.S. The standards >by which Kawai and Yamaha use to determine who is granted a dealership limits >the number of candidates out there. Since it is difficult for a piano store >to attract customers into their showroom without the promise of having one of > these brands available, bootlegged pianos become attractive to these >dealers. Compounding this, the availability of legitimate, used Kawai and >Yamaha pianos is so scarce that competing dealers are almost forced to carry >bootleg pianos -- even if their business ethics might have encouraged >otherwise. > >Q: "Why don't I want one?" > >A: It is important to realize that by purchasing a bootlegged piano, you >are not buying the same quality instrument that a new Kawai or Yamaha would >offer, for half the price. Technological advancements and dedication to >quality have continued to improve Japanese pianos to reach new levels in >musicality and durability. You are also not buying the same quality >instrument as if you would have purchased a legitimate, U.S.-destined Kawai >or Yamaha, on account of construction differences and due to the likelihood >of greater wear and tear, depending on the environment from which the >instrument came. > >Q: How are they different?" > >A: For starters, the pianos that are coming in from Japan were >specifically designed and manufactured for use in Japan's own domestic >market/climate. Pianos are extremely environmentally-sensitive instruments >and in many cases are not capable providing trouble-free service once shipped >into a geographic region other than the one for which it was designed. > > The wood that is used for the soundboards, rims, pin blocks, actions >and other case parts is specifically dried down to 5% moisture content in the >pianos that are destined for anywhere outside Japan or Hawaii. Pianos >designated specifically for Japan or Hawaii are only dried down to 22% >moisture content -- a significantly shorter kiln time, thus a great cost >savings. Japan and Hawaii are the only two markets where Kawai and Yamaha >can be certain their pianos will exist in significant levels of year-round >humidity, therefore they can forego the additional costly drying time that >would be needed for all other markets. The 5% moisture content pianos are >suitable for all other regions including areas as dry as the Arizona deserts. > > The effects of improperly seasoned wood are certainly not limited to >pianos; however their effects are often far more profound and critical on >pianos than on say, furniture. Most wooden products don't have the need to >be, nor the luxury of being, kiln dried. There is no other product that is >required to withstand 40-60,000 pounds of constant pressure while allowing >many of its 10,000 parts to move within 1/1000ths of an inch to each other. >When tolerances like these are disturbed, the problems can grow from >ill-fitting and warped case parts, to intermittent buzzes, squeaks and >rattles, to cracked or separated soundboards, bridges, pin blocks, and rims. > > You should also be aware that many of these pianos have been >reconditioned or rebuilt and/or refinished or touched up. > >Q: "But the dealer said he will guarantee it for many years . . . " > >A: Of course there will be a warranty offered, but you will never know >the extent of the warranty until an expensive repair is needed -- a pretty >risky endeavor for such a large purchase. Any warranty offered is coming >from the dealer, not the manufacturer, regardless of the age of the piano. >The fact that the dealer knows the potential hazards of these pianos yet >continues to offer them should be the first clue as to the extent of the >warranty. Furthermore, many of the repairs would constitute an entire >rebuild or refinish job in order to match the standards of the original >craftsmanship. Cosmetic repairs such as repairing a bubbled or cracked >veneer are especially challenging, considering that there are strict >governmental regulations against the spraying of polyester in the U.S. >(Polyester is the durable material responsible for the glass-like finish >found on Japanese pianos -- much unlike the lacquers used on American >products.) > >Q: "The dealer said it was traded in to him . . . " > >A: . . . or that it was bought from an estate sale or a little old lady >. . . anything besides the less-appealing truth. It is unlawful for the >dealer to misrepresent where the piano came from, yet this frequently occurs >because the dealer certainly doesn't want to tell you it came from a Japanese >conservatory -- that is if he even knows where or how it was used in Japan. >It is more likely that you will here a story about how the piano was traded >in to the dealer for whatever reason or that they purchased it privately >(thus limiting his liability to have known its prior history in case its >origin is discovered ex post facto). The idea of asking the dealer to >produce a proof of origin is futile, because any dealer who is going to carry >these instruments, might not hesitate fabricating an invoice showing a >favorable background. > >Q: "How do I know if the piano I'm looking at is a bootleg?" > >A: For starters, if the instrument in question is a two pedal piano, it >is almost a dead giveaway it came from the Japanese domestic market, as >Kawais and Yamahas sold in the U.S. for the past 30 thirty years have had >three pedals. That does not mean, however, that a three pedal piano is >immune from being a bootleg. The endless faxes and e-mails U.S. dealers >receive listing the serial numbers of available bootleg pianos often show a >column titled "number of pedals", geared toward the dealers whose customers >erroneously believe that three pedal units are "safe". Additionally, if the >piano in question is coming from a dealer who does not have the Kawai or >Yamaha dealership in their area, that is also a sign of a bootleg, as these >dealers have continuous access to "the real thing" and are less likely to >jeopardize their reputation with these questionable products. > >Final word of caution: > >Bootlegged Japanese pianos are available to any dealer who wants them in the >U.S. at prices no different from one another. Dealers with high standards >typically stay far away from them for many reasons -- not just because of the >questionable longevity of the pianos. The manner in which these pianos are >gathered abroad, bought and sold, and distributed is undesirable to say the >least. One of the columns in the above-mentioned e-mails and faxes received >by dealers citing availability is titled "Grade", as in "B+", "A-" or worse >yet "C" or "D". > >Such whimsical lettering is the primary means by which tens of thousands of >dollars change hands. Importers and resellers of these pianos are often >buying these instruments sight unseen, from this "grade" scale that has no >international or common standard. If you have any question as to the >potential dilemmas and horrors that can be introduced by a wholesaler >purchasing sight unseen from abroad, let alone a reseller and subsequent >merchant and (heaven forbid) end- user purchasing the same piano sight >unseen, please consult qualified piano technicians (preferably Piano >Technician Guild certified) to gain some insight. There is an adage in the >piano world that "the more severe a problem, the less likely a layperson or >even a player can detect it".. If the price sounds too good to be true >(meaning significantly under market value for other similar used pianos), it >probably is. > >------------------------------ > >Date: Tue, 4 May 1999 06:37:56 -0400 >From: Bill Ballard <yardbird@sover.net> >Subject: srptyiu7 > >ping > >------------------------------ > >Date: Tue, 4 May 1999 06:43:50 EDT >From: VOCE88@AOL.COM >Subject: Re: Schaeffer Co. address/phone request. > >In a message dated 5/3/99 9:43:29 PM Eastern Daylight Time, >BSimon1234@AOL.COM writes: > >> Dear list: >> >> Does anyone have the contact number for the Schaeffer Piano Company? >> >> We are looking to replace a case part. >> >> Thank you, >> Bill Simon >> Phoenix > >If you are looking for Schaffer & Sons, they were made by either Kimball, >Samick, or Dae Woo, depending on the date of manufacture or the model. Good >Luck getting case parts. Although Samick may be able to help. > >Hope this helps. > >Richard Galassini >Cunningham Piano Co. >Phila.,Pa. >1 800 394 1117 > >------------------------------ > >Date: Tue, 04 May 1999 06:22:38 -0500 >From: Conrad Hoffsommer <hoffsoco@martin.luther.edu> >Subject: Re: srptyiu7 > >At 06:37 5/4/99 -0400, you wrote: >>ping > >pong? > > > >Conrad Hoffsommer - Music Technician mailto:hoffsoco@luther.edu >Luther College (319)-387-1204 >Decorah, Iowa 52101-1045 > >"Far too noisy, my dear Mozart. Far too many notes." > - Emperor Ferdinand of Austria 5.1.1786 > >------------------------------ > >Date: Tue, 04 May 1999 06:04:46 PDT >From: "Jay Mercier" <jaymercier@hotmail.com> >Subject: Re: grey market? thanks > >Thanks for the information John. I'll be the one taking the heat if this >instrument is is shambles in 10 years. -- Jay >> >>This is the most thorough and accurate explanation of bootleg/gray market >>pianos I've ever seen. --John >> >>FAQ'S ABOUT "GRAY MARKET" OR "BOOTLEG" >>JAPANESE PIANOS >> >>Q: "What are bootleg pianos?" >> >>A: Bootleg pianos are pianos that are transshipped into a geographic >>region other than the one for which the piano was specifically designed and >>manufactured. >> >>Q: "Why are they in the United States?" >> >>A: Because there is a great demand in this country for used, >>Japanese-made pianos, while there is an almost non- existent availability >>of >>legitimate, U.S.-used Japanese pianos. >> >>Q: "How do they get here?" >> >>A: It started about 10-12 years ago as an experiment in getting rid of >>excess inventories in Japan. Most of them are shipped in by companies that >>had previously been in the business of importing other Japanese products. >>Bootlegging has gained in popularity as the Kawai and Yamaha names have >>become the brands of choice. >> >>Q: "Why are there so many of them available overseas when I can't find >>any here?" >> >>A: Well, first of all it is important to understand that "overseas" >>refers specifically to Japan. This distinction is made because for many, >>many decades, Kawai and Yamaha have dominated the Japanese market with >>virtually no competition from competing nations or manufacturers. >>Conversely, Kawai and Yamaha pianos have only been sold in the U.S. since >>the >>early sixties with a tremendous amount domestic and foreign competition. >>It >>stands to reason that far more Kawai and Yamaha pianos are bound to become >>available in Japan with the kinds of numbers they have produced through the >>years in Japan.. Other contributors to the glut of used Kawai and Yamaha >>pianos available in Japan include: >> 1) . . . the resistance to buying a used piano in Japan >>by Japanese families. Unlike in other areas, the selection and purchase of >>a >>family piano is one of the most vital purchases a Japanese family makes -- >>far too important to condescend to buying a used one. >> 2) . . . damaged pianos. If selling a used piano to a >>Japanese family is difficult, try selling a damaged one. While Americans >>might welcome these discounts, Japanese families often don't consider it an >>option. >> 3) . . . trading up. Their success with and dedication >>to musical studies as a country is far greater than almost anywhere in the >>world which leads to more trade ups, even if it requires dedicating more >>space in their small homes than most Americans would ever consider >>allocating >>in their living rooms. >> 4) . . . universities. Unlike in the U.S., practice >>rooms in Japanese conservatories are open 24 hours a day, seven days a >>week. >>The fierce competition amongst the students along with the limited number >>of >>practice rooms available require the practice pianos to be used up to 24 >>hours a day, seven days a week. This kind of wear is exponentially greater >>than a residentially-used piano. These pianos get traded in every five to >>ten years for identical new ones. This process keeps the university's >>maintenance down and also helps in the recruiting of new students (with the >>promise of there being new pianos in the practice rooms). >> There are few takers for these pianos in Japan, despite the efforts >>to sell them by reducing their costs to a fraction of a new one. So they >>get >>a makeover and get shipped to a market where they can be sold more easily >>-- >>the U.S. >> >>Q: "Who buys them?" >> >>A: Most often it is the piano stores who are not Kawai or Yamaha >>dealers. Kawai and Yamaha are powerful names in the marketplace who >>represent a large portion of all new pianos sold in the U.S. The standards >>by which Kawai and Yamaha use to determine who is granted a dealership >>limits >>the number of candidates out there. Since it is difficult for a piano >>store >>to attract customers into their showroom without the promise of having one >>of >> these brands available, bootlegged pianos become attractive to these >>dealers. Compounding this, the availability of legitimate, used Kawai and >>Yamaha pianos is so scarce that competing dealers are almost forced to >>carry >>bootleg pianos -- even if their business ethics might have encouraged >>otherwise. >> >>Q: "Why don't I want one?" >> >>A: It is important to realize that by purchasing a bootlegged piano, you >>are not buying the same quality instrument that a new Kawai or Yamaha would >>offer, for half the price. Technological advancements and dedication to >>quality have continued to improve Japanese pianos to reach new levels in >>musicality and durability. You are also not buying the same quality >>instrument as if you would have purchased a legitimate, U.S.-destined Kawai >>or Yamaha, on account of construction differences and due to the likelihood >>of greater wear and tear, depending on the environment from which the >>instrument came. >> >>Q: How are they different?" >> >>A: For starters, the pianos that are coming in from Japan were >>specifically designed and manufactured for use in Japan's own domestic >>market/climate. Pianos are extremely environmentally-sensitive instruments >>and in many cases are not capable providing trouble-free service once >>shipped >>into a geographic region other than the one for which it was designed. >> >> The wood that is used for the soundboards, rims, pin blocks, actions >>and other case parts is specifically dried down to 5% moisture content in >>the >>pianos that are destined for anywhere outside Japan or Hawaii. Pianos >>designated specifically for Japan or Hawaii are only dried down to 22% >>moisture content -- a significantly shorter kiln time, thus a great cost >>savings. Japan and Hawaii are the only two markets where Kawai and Yamaha >>can be certain their pianos will exist in significant levels of year-round >>humidity, therefore they can forego the additional costly drying time that >>would be needed for all other markets. The 5% moisture content pianos are >>suitable for all other regions including areas as dry as the Arizona >>deserts. >> >> The effects of improperly seasoned wood are certainly not limited to >>pianos; however their effects are often far more profound and critical on >>pianos than on say, furniture. Most wooden products don't have the need to >>be, nor the luxury of being, kiln dried. There is no other product that is >>required to withstand 40-60,000 pounds of constant pressure while allowing >>many of its 10,000 parts to move within 1/1000ths of an inch to each other. >>When tolerances like these are disturbed, the problems can grow from >>ill-fitting and warped case parts, to intermittent buzzes, squeaks and >>rattles, to cracked or separated soundboards, bridges, pin blocks, and >>rims. >> >> You should also be aware that many of these pianos have been >>reconditioned or rebuilt and/or refinished or touched up. >> >>Q: "But the dealer said he will guarantee it for many years . . . " >> >>A: Of course there will be a warranty offered, but you will never know >>the extent of the warranty until an expensive repair is needed -- a pretty >>risky endeavor for such a large purchase. Any warranty offered is coming >>from the dealer, not the manufacturer, regardless of the age of the piano. >>The fact that the dealer knows the potential hazards of these pianos yet >>continues to offer them should be the first clue as to the extent of the >>warranty. Furthermore, many of the repairs would constitute an entire >>rebuild or refinish job in order to match the standards of the original >>craftsmanship. Cosmetic repairs such as repairing a bubbled or cracked >>veneer are especially challenging, considering that there are strict >>governmental regulations against the spraying of polyester in the U.S. >>(Polyester is the durable material responsible for the glass-like finish >>found on Japanese pianos -- much unlike the lacquers used on American >>products.) >> >>Q: "The dealer said it was traded in to him . . . " >> >>A: . . . or that it was bought from an estate sale or a little old lady >>. . . anything besides the less-appealing truth. It is unlawful for the >>dealer to misrepresent where the piano came from, yet this frequently >>occurs >>because the dealer certainly doesn't want to tell you it came from a >>Japanese >>conservatory -- that is if he even knows where or how it was used in Japan. >>It is more likely that you will here a story about how the piano was traded >>in to the dealer for whatever reason or that they purchased it privately >>(thus limiting his liability to have known its prior history in case its >>origin is discovered ex post facto). The idea of asking the dealer to >>produce a proof of origin is futile, because any dealer who is going to >>carry >>these instruments, might not hesitate fabricating an invoice showing a >>favorable background. >> >>Q: "How do I know if the piano I'm looking at is a bootleg?" >> >>A: For starters, if the instrument in question is a two pedal piano, it >>is almost a dead giveaway it came from the Japanese domestic market, as >>Kawais and Yamahas sold in the U.S. for the past 30 thirty years have had >>three pedals. That does not mean, however, that a three pedal piano is >>immune from being a bootleg. The endless faxes and e-mails U.S. dealers >>receive listing the serial numbers of available bootleg pianos often show a >>column titled "number of pedals", geared toward the dealers whose customers >>erroneously believe that three pedal units are "safe". Additionally, if >>the >>piano in question is coming from a dealer who does not have the Kawai or >>Yamaha dealership in their area, that is also a sign of a bootleg, as these >>dealers have continuous access to "the real thing" and are less likely to >>jeopardize their reputation with these questionable products. >> >>Final word of caution: >> >>Bootlegged Japanese pianos are available to any dealer who wants them in >>the >>U.S. at prices no different from one another. Dealers with high standards >>typically stay far away from them for many reasons -- not just because of >>the >>questionable longevity of the pianos. The manner in which these pianos are >>gathered abroad, bought and sold, and distributed is undesirable to say the >>least. One of the columns in the above-mentioned e-mails and faxes >>received >>by dealers citing availability is titled "Grade", as in "B+", "A-" or worse >>yet "C" or "D". >> >>Such whimsical lettering is the primary means by which tens of thousands of >>dollars change hands. Importers and resellers of these pianos are often >>buying these instruments sight unseen, from this "grade" scale that has no >>international or common standard. If you have any question as to the >>potential dilemmas and horrors that can be introduced by a wholesaler >>purchasing sight unseen from abroad, let alone a reseller and subsequent >>merchant and (heaven forbid) end- user purchasing the same piano sight >>unseen, please consult qualified piano technicians (preferably Piano >>Technician Guild certified) to gain some insight. There is an adage in the >>piano world that "the more severe a problem, the less likely a layperson or >>even a player can detect it".. If the price sounds too good to be true >>(meaning significantly under market value for other similar used pianos), >>it >>probably is. >> > > >_______________________________________________________________ >Get Free Email and Do More On The Web. Visit http://www.msn.com > >------------------------------ > >End of pianotech-digest V1997 #1674 >*********************************** > >
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