In a piano worth $100,000's is this a good practice ?

[Delwin D Fandrich]

----- Original Message -----
From: "antares" <antares@EURONET.NL>
To: <pianotech@ptg.org>
Sent: June 11, 2001 2:36 PM
Subject: In a piano worth $100,000's is this a good practice ?



Hello Andre,

First, I find your subject line interesting. "In a piano worth $100,000...."
What is it that determines the value of a piano? Or, more specifically, what
is it that should determine the value of a piano? Should it be the decal on
the front panel? That only costs a few dollars. What is it worth? Should it
be the pianos heritage, its pedegree? Should it be certain 'features' of the
action? Perhaps it should be the meticulas 'hand craftsmanship?' The precise
fit and finish of the caseparts and the wonderful workmanship
(workpersonship?)? Or should we begin to value them on their musicality?
Their performance? Their ability to--in the hands of the appropriate
artist--create music?

I'd be interested in your thoughts.



> > Del is of the opinion that the soundboard looses its stiffness in
certain
> > areas and that that is the actual problem that has to be overcome.

Yes I am. It is a particular and consistant problem in certain pianos using
compression-crowned soundboard systems that also have excessively thinned
soundboards between the bridge and belly rail. There is simply not enough
wood in the panel to maintain the stress interface between the panel and the
ribs that is required to hold the amount of crown necessary to work against
the string load and keep the soundboard assembly as stiff as it needs to be.



> That is very interesting, because the problem is a real pain in the neck.
> I just had a long walk (My wife is off to the US, she is American you
know)
> through a very quiet park, and I had deep thoughts about what a waste it
is
> indeed to sort of throw away the most expensive concert piano in the world
> and just replace it with the next one. So it would be great if somebody
> tried to find a solution for this.

There are solutions, but they do require the redesign and/or the
reengineering of the soundboard and the way in which it is crowned. Let's
not hold our collective breaths.

In the meantime, I am working on aftermarket fixes. I'll let you know what,
if anything, I come up with. When I come up with it.



> Why though, does Yamaha not have this problem? at least not as bad?
> And do you know of other older Concert grands that have stayed better? and
> are there more Australian piano builders besides Ron Overs?

While the two pianos share many common design elements, their soundboards
are some different. Among other things, the Yamaha soundboard is
considerably thicker. At least it used to be.

-- Del