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

[antares]

> Del Fandrich writes :

> 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.

Well. first of all the top quality in touch and tone, and secondly, I would
like to compare such an expensive instrument with a Rolls Royce.
Both are about the top in industrial design and luxury.
The difference between these two top names , according to me :

Rolls Royce always backs up the owner of their products, and this diamond
car is built to last for a much longer time than other, much less expensive
cars, and comfort is at its finest.
We could argue about other, extremely costly names like Bugatti and Ferrari,
but I think you get my point.

Steinway, one of the older names in piano land makes undoubtedly very
beautiful instruments, and their concert grand is, generally speaking,
considered top of the line.
These days we too have Fazioli, Bösendorfer, and others, but if we could
take a look at all the grand pianos on all the stages in the world, I would
bet that Steinway is still considered numero uno.

After sales service is pretty lousy (at least in Europe). Problems 'never'
exist, and although the tone is wonderful, they do have their problems, such
as cracked tubes, veneer (I don't know how to spell it) problems, and,
actually the worst of all : the killer octave, which can be noticeable, even
before the instrument has been sold!
Furthermore, the key frame always changes position, is unstable, the ends of
the key frame always makes rattle sounds (yes I have learned how to go about
it), and the tubular frame is actually a bummer in regard to all flanges
(yes I have learned how to go about it). Give me a Yamaha key bed and action
anytime!

So.... one has to pay an awful lot of money for a thing that is half the
price after 10-15 years and which has a heavy problem in the treble.
If the treatment in regard to soundboards, bridges, frames etc. of either
Del Fandrich, Ron Overs, and other respected builders really works, we could
easily pay another $ 10 -15 or more grand (how much actually?) for the
repair.

Tell that story to Rolls Royce!


Antares,

Amsterdam, Holland