Quality of Pianos

[Delwin D Fandrich]

----- Original Message -----
From: "Richard Brekne" <Richard.Brekne@grieg.uib.no>
To: <pianotech@ptg.org>
Sent: September 03, 2001 12:03 AM
Subject: Re: Quality of Pianos


> > The problem, of course, is that piano buyers don't evaluate pianos the
way
> > piano tuners and technicians do. Most piano buyers--at least those who
play
> > well enough to form their own opinions about piano tone--really don't
care
> > all that much about precision manufacturing, the specifics of the
materials
> > used, tunability, etc. And, let's face it, Schimmel's, Sauter's and
Yamaha's
> > don't sound like Petrof's--their precise construction, wonderful
materials
> > and great tunability notwithstanding.
>
> This is very true. At least to the point where manufacturing problems
begin to
> get in the pianists way.

Few pianists consider this when purchasing a piano. Besides, by the time
they get to the point of purchase, they are so confused by the various
claims and counterclaims, the lies and misrepresentations, and the general
ignorance and foolishness of the typical piano store, they no longer have a
clue as to what to believe.



> > There is a point here I think many piano technicians and piano
manufacturers
> > are missing. Pianos are supposed to be, first and foremost, musical
> > instruments. Not just monuments to some manufacturers ability to build
> > something with great materials and precision.
>
> Yes..... but I think we are also in agreement that in order to be musical
> instruments there are certain technical matters that need to be
satisfactorily
> dealt with. We end up with a balance. In the end it doesn't matter how
nice it
> sounds if you cant play it, nor does it matter how well its made if it
sounds
> like .... well you know...:)

You're missing my point and thinking like a piano technician. These things
seem obvious to you because you have years of personal experience dealing
with and fixing--or trying to fix--the various problems these pianos have.
This is meaningless to the customer. They sit down and play one piano and it
sounds good to them. They sit down and play another piano and it sounds hard
and linear. You can say what you will about the second piano being 'better'
but they aren't going to believe you. To the pianist the proof is in the
hearing.

Why do you think a lot of the rocks that pass for piano hammers these days
are 'fuzzed' on the surface? It makes them sound less bad on the showroom
floor and who cares what they will sound like in a year or two. Then it will
be your problem and if you can't make it sound nice and pretty it will be
your fault, not that of the hammer maker. After all, it sounded 'good' in
the store.



> > If increasingly larger numbers of piano buyers end up buying Petrofs
instead
> > of some other, possibly better crafted pianos, because those Petrofs
sound
> > better to them, surely that should be telling us something. Perhaps we
> > should all be spending more time listening to the end result and less
time
> > evaluating the choices of materials and admiring the manufacturing
precision
> > used in assembling those materials.
>
> I think we should be doing both..... and I think that is basically what
you are
> saying here.  And I think that applies to pianists as well. Perhaps it is
true
> that many technicians place to much weight on the technical side of
things...
> but then perhaps in the same breath one should point out that pianist know
way
> to little about these same things ??

Of course we should be doing both. But I don't see that happening very much.

So when the piano player calls me and asks about the Petrof, and tells me
how it is the only piano they've played that they really like the sound of,
but the other dealers and even a couple of technicians have told them
Petrof's aren't any good and they should really buy some other piano that
they can't stand the sound of--"but, don't worry, we'll get it all tuned up
and voiced for you after its delivered"--and then tells me how much the
Petrof costs, my response is, "Buy it. And then engage the services of a
good piano technician to finish all the things the factory didn't bother
with." A good detail technician can do quite a lot for $1,000 to $1,500 and
the customer will end up with quite a nice sounding--and playing--piano and
will still have saved a few dollars.

Is this an ideal situation? No, of course not. But I don't see it changing
any time soon. Good European pianos are going to go on sounding like good
European pianos sound. If you don't happen to like this sound, well tough,
this is how pianos are supposed to sound. If you don't like it, buy a
harmonica. The various Asian pianos are also going to go on sounding like
they sound. Both their design and, especially, their manufacturing processes
pretty much dictate that. So that leaves the pianist wanting something a bit
more musical, more dynamic, in something of a bind. What's left? Baldwin?
Erratic performance, erratic quality and expensive. Steinway (U.S.A.)?
Erratic performance and even more expensive. Mason & Hamlin? Again, erratic
performance and expensive. Walter? Potentially good performance but very
limited availability. I could go on, but you get the picture.

I predict that as long as Petrof continues to offer a relatively warm and
dynamic sound they are going to go right on selling ever-increasing numbers
of pianos regardless of what you and others have to say about their
technical qualities, or their lack thereof. Eventually, of course, they will
change their manufacturing process and/or their selection of hammers will
change--only to improve them, you understand--and they will start sounding
just like all the rest of the pianos out there. Then they also will get
bogged down in the features wars and become just another cookie-cutter
piano. And only then will people start to consider the various technical
lapses you and others have been fussing about.

Regards,

Del