> We have locks on our two Steinway concert grands, but over the years >the number of people who have keys I believe may outnumber those who >don't. Consequently, those pianos get beat on more than I would like >(yes, some of the students around here are real pounders). We would like >to replace the whole locking mechanism (as opposed to re-keying the old >locks), so I'm asking for recommendations. Jaras sells a fallboard lock >through Schaff, and Pianotech sells one with the lock as part of the >mechanism. Any experience/preference with these two? Are there other >options to consider? We would obviously like to have multiple keys >available, but some control of distribution/dupliction of those keys. >Any ideas on how you work that would also be appreciated. Thanks > >Jeff Stickney, RPT What I have done here is to eliminate the use of the fallboard lock altogether and instead use padded covers on the concert instruments with *locking straps*. Maybe the Jaras is very good but if someone really works at breaking into the piano they will probably maul the fallboard in the process. The usual type of fallboard clamp in my experience does a number on the fallboard as a matter of course. The padded cover goes a long way to protect the whole case. If somebody wants to break in they can I suppose, but they would probably do little damage to the piano (and it hasn't happend yet; knock on wood :). *No* student users or faculty are issued keys to the concert instruments. I have keys and the stage technicians have keys. I show all new stage technicians how the cover is to be rolled-up (this makes it easy to place back on the piano), that it never goes on the floor, and that the piano is moved and *then* the cover removed etc, etc... As a result (and with some refinishing) the pianos look a 1000% better. The downside is that I do have to open and close pianos - due to personnel shortages - if a stage person isn't available. I would rather do this though than go back to the old system (or lack of a system) where anybody could access these pianos for any reason. People who want to use a concert piano now must arrange for its use. In all of our concert areas I see that a second lesser piano is available for regular daily use. In this way the concert instruments are reserved for concerts and for important rehearsals. I try to see that piano majors, at the behest of their teachers, get extra time to work and feel at home with the concert pianos. But I know whenever a concert instrument is going to be used in advance so I can gauge the sort of maintenance it will require. I don't see how any technician can maintain a piano in concert quality condition when everybody and his brother has a key and can go in and pound on it at will. The piano teaching faculty is inconvenienced by this system from time to time, but they are all for it. When they have an important masterclass or must play a concert they know that the piano will sound and feel right. Bill Darst Music Dept UC Santa Barbara
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