Basic Action Design/Performance Question

[Delwin D Fandrich]

----- Original Message -----
From: "Farrell" <mfarrel2@tampabay.rr.com>
To: <pianotech@ptg.org>
Sent: September 24, 2001 5:57 AM
Subject: Basic Action Design/Performance Question


> Is there inherently any difference between improved versions of grand
> actions?

Not that I'm aware of. Or between unimproved versions of grand actions, for
that. Now, having said that, with one or two notable exceptions I would
expect to find action regulation being done a bit better on a more expensive
piano. It isn't always, but I'd expect it. Action regulation is one of the
very few piano building functions left machines haven't been taught to do.
And, presumably, the manufacturer of the more expensive piano should be able
to devote the time to do this operation right.


>
> I know that a new Bechstein or Walter action may well play better
> than your average new Samick or Bergman - but isn't a lot of that inferior
> materials, glues, manufacturing, etc.?

Or good materials not properly conditioned. We seem to go through this with
each new country piano manufacturing spreads to. It takes them a while to
learn the value of wood moisture control. But sticking to two of your
examples, just what is the difference between the Bechstein Renner action
and the Samick Renner action? Mostly how well set-up and regulated they are
at the factory.


>
> Take two divergent actions from
> similar sized pianos - a Walter and a Bergman. Now give both actions to
the
> Willis & David Snyder shop & David Stanwood. Let them replace any parts
they
> want and optimize all they will. Now I realize the Bergman action will
still
> seem bad when it is placed into the Bergman cavity - but let's just assume
> that Del Fandrich (or whoever) works all kinds of magic and somehow
> reproduced a Walter-like grand belly within the Bergman frame (ok, ok,
just
> stretching it a bit, but this is an action question - use your
imagination).
> Now you are putting these two actions into similar pianos. Can they both
> play to a similar potential?

Just how big was that Bergman?


>
> I hope this doesn't sound like too goofy a question. I guess I'm asking
> whether a Young Chang (or whatever generally viewed lower quality action)
> can be made to play as well as any good quality action (neglecting the
> difference in pianos - which I fully realize can dramatically affect the
way
> an action performs)?

I don't see why not. I certainly have my preferences on some of the
details--I like laminated wood action rails and slightly firmer action felts
than are typical on most actions. I also prefer hard maple to hornbeam. But
I don't know just how important these things are to the average player. The
rest is in the setup and balancing and you've said we can change that.


>
> Does this make any sense? Perhaps I am asking "besides material quality,
> design, manufacturing, etc. (and the piano it is installed in), is there
> anything else (magical?) about an action that makes one superior to
another
> one?

Along with the homogenization of piano design has come an even greater
degree of homogenization in actions. Just how much difference in design is
left?

Look at the pianos we rebuild from the first half of the 20th century; all
kinds of different and unique actions. Each with its own flavor and feel.
Now look at the pianos of today. Most so-called high-end pianos use Renner
actions--as do many low- and mid-range pianos--with only minor variations in
how they are set up. And those Renner action of today are patterned after
the Steinway butterfly spring action. And most manufacturers using their own
actions have also adapted this standardized format.

It's kind of like an auto industry with each manufacturer having its own
slight variation of just one single engine design. Think what it would be
like if every car you looked at came with just the one size and type of
engine block. Perhaps you could get different cylinder heads (hammers) from
each different manufacturers (though even those would come from just two
different factories) and maybe even a different transmission (keys) which,
again, would come from just a couple of different suppliers, but the engine
block would be the same for each. There would, of course, be a couple of
very large manufacturers who were willing to devote the resources to
manufacture their own engines, heads and transmissions but for reasons of
conformity to the industry standard they also would build engines that
looked and performed just like all the others. Our choices of individual
performance levels would be greatly diminished.

We've nearly reached this point in the piano industry. I don't see a lot of
differences among the various manufacturers actions.


>
> I have heard before - "Well, Mrs. Pianobuyer, that piano is not a
> Steenburger, and it will never play like a Steenburger." Is that because
the
> seller does not know how to do it? Does not think it is worth the money to
> do it? Or that it can't be done?

In some cases I think it's a matter of not knowing how to do a thing. Piano
manufacturers get caught up in the business of manufacturing and lose track
of what it is they are supposed to be doing--building musical instruments.
I've had factory managers tell me that if the price is low enough it doesn't
matter how well the piano works--somebody will buy it.

So, I don't think there is any one answer to your question.

Del