Showing posts with label piano action. Show all posts
Showing posts with label piano action. Show all posts

Saturday 30 August 2014

New Pianos

Surely, buying a new piano should to be straightforward enough, shouldn't it? As there are not so many piano shops around, if you wish to compare prices or try pianos in more than one shop, your hunt for a new piano will mean a good deal of travelling.

A piano can seem perfect in the shop, but at home in your music room, the sound hardens into a strident, in-your-face tone which is difficult to control and hard on the ears. Second thoughts, regret and disappointment are not easy to overcome when you have bought an expensive piano. Surely a piano costing so much should be satisfactory from Day One!  

It is not uncommon, as a technician, to be called in to deal with a brand new, expensive and newly-delivered piano that is terribly out of tune and/or the action is very heavy and difficult to play. Promises that the action would loosen up or the tone would mellow after being played for a while, prove to be disappointingly empty. The owner is very unhappy - and understandibly cross that there is a problem at all!

These issues can all be sorted but not in about 10 minutes. It is not rare to find a brand new piano which is so heavy to play the action needs re-centring. Frequently one finds keys that are sluggish, hammer-felts that are as hard as nails, notes going wildly out of tune or pedals that squeak every time they are pressed down. 

I have a great deal of sympathy for New-Piano-Buyers who feel so let down by their new piano. Piano brochures - without exception, make bold claims about the quality and care of manufacture. But sadly, too often, modern pianos never quite live up to expectations. 

In an ideal world, all pianos would be ready and 'match fit' long before it is delivered to the home of an excited pianist who has invested their hard-earned money in their dream piano. 

Perhaps 50 - 60% of new piano owners would say they are totally satisfied with their purchase. Possibly, the tuner/technician's satisfaction rate would be rather less, but the reality is that if brochures were written by the purchaser there would be less use of extravagant superlatives to describe the piano. 

Buyers should insist on standards that match the price they pay for a piano. One expects the quality of a cheap piano to match its low price. Equally, the quality of an expensive piano ought to be at least as high as the price - certainly, no lower!


Tuner's Journal

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Pianology

Monday 30 December 2013

How a Piano Works

The piano perfectly pairs mechanical movement with an infinite range of dynamics of sound. This pairing is made possible by the precision engineering of the piano action and keys, and the wonderful rich tones of vibrating strings. At the heart of the piano, the sound-board projects sound generated by the vibrating strings after they have been struck by the hammers of the action.

The hunt for the wood used for the soundboard begins in the forest. Experts look for trees with specific acoustic properties and are harvested only when a tree is ‘ready’. Foresters are specially trained to know the 'signs' that indicate when a tree is ready! For uninitiated observers, one tree will look pretty much the same as any other, but these guys know the appropriate time to fell the tree.

Manufacturers like to keep their methods to themselves. Some believe their designs, specifications and particular construction features give their pianos a unique sound and tone, and so are keen to protect their ideas from being copied.  

Glued to the sound-board is a wooden ‘bridge’. This is the all-important link between  the strings and the soundboard. Every string passes over the bridge and is kept firmly in position by locating 'bridge-pins'. These define one end of the ‘speaking-length’ of the string. The metal frame is fitted - attached around the edges of the soundboard, leaving the soundboard to vibrate freely. 

The frame provides the strength needed to withstand the sheer tension across the 7 and a quarter octaves of strings! Each string travels from the tuning-pin, through an agraffe or over what defines the beginning of the speaking length of the string, across the central part of the soundboard, to the 'bridge' (the end of the speaking length) and finally to the hitch-pin anchored in the metal frame. 

The soundboard is slightly convex in shape. This and the tension of the strings when tuned, produces a sensitive and highly charged unit at the core of the piano. 

The action and the keyboard - dealt with in another post here, are the mechanical link between the pianist and the sounds created by the vibrating strings. 

'How a piano works' is too complicated an issue to cover in a few paragraphs. This post is a general overview and I hope will help give the beginning of a clear understanding of the workings of a piano.

The Piano World

© Steve Burden  
Pianology

Sunday 29 December 2013

Erard Pianos

Born at Strasbourg in 1752, Sebastian Erard showed a remarkable capacity for learning. Even when he was just 8 years old, he was studying architecture and geometry. In 1768, his father died. At only 16 years of age, Sebastian took upon himself the responsibility to provide for his mother and 3 siblings. 
He travelled on foot to Paris, looking for work that would pay enough to support his mother back home in Strasbourg. He found work with a harpsichord maker who could not have known that he would be introducing an extraordinarily talented young man to his destiny. Sebastian quickly became passionate about the harpsichord, and, equipped with his natural curiosity, began probing the theories of harpsichord design. In a very short time his shrewd questions required far more sophisticated answers than his employer could supply.
The Duchess of Villeroy had engaged him to build a harpsichord, giving him the use of a well equipped workshop in her palace. It was here, in 1777,  he built his first piano. With growing confidence and with his ambitions taking shape, he opened premises in his own name in the ‘Rue de Bourbon’ Paris.  
Soon, an order was sent for Erard to make a piano for Versailles. Erard’s flourishing connections with the upper ranks of the French aristocracy securely established his reputation. With his natural abilities, his astute business brain and his connexions, he had become a formidable figure in Paris. 
At this time, the theories determining an efficient piano mechanism were not clearly understood, the only examples available to examine were still very primitive. It was Sebastian Erard with his meticulous attention to detail who formulated the principles of the modern grand piano action.
In 1786, he decided to move to London where he opened a shop at 18 Great Marlborough Street. Setting up a business in London was a golden opportunity to conquer a fresh market. Erard studied the English methods of piano manufacture, and was eager to adapt what he felt were the best methods and practices. He began producing his own pianos in 1792. 

The principles he laid down for the design of the piano mechanism, remain the basis for all modern grand piano actions. Despite the huge advances of technology over the 19th & 20th centuries, his work still stands as steadfast as ever. 

Universal approval of his work took some time to establish. Differing opinions are always interesting to read as they give some context to the debates of the time. Quoted here is an opinion that seems to have been judged more on issues of patriotism than on the objective merits of the case. 
Thirty-six years after Erard had died, a Heinrich Welcker, who did not like French pianos, wrote of the Erard action: “Generally speaking, the action manufactured by Sebastian Erard figures as the oldest and most highly praised sort. Indeed, it is difficult to understand how such a put-up job, combining neither durability nor precision, could possibly have been copied by others, show that Mr. Erard did not have much of a head for mechanical things, but perhaps a great deal of money for people to sing his praises”.
Sebastian Erard died in 1831. His legacy to the piano world was his work with the piano action. To this day, his action is used as the basic template for modern piano actions! Erard Pianos are sadly, no longer made.
Directory of Piano Makers 

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Sunday 17 June 2012

Prestige, Priorities and Pianos.

Imagine: a posh, exclusive hotel - the perfect setting for just about any kind of event - with extensive and flawlessly kept grounds, an award winning restaurant, golf courses, conference facilities... and a piano! 

In a corner of the dining room is a double-overstrung Ibach baby grand piano. It is not ancient, but if there were an 'MOT' Test for pianos, this one would fail. It needs re-stringing and a lot of careful rebuilding work before it could once again give worthy credit to the Ibach name.

In spite of its condition the piano plays fairly well, and though tuned rather infrequently, when it is tuned the tone proves the old rule that a 'quality' piano can sound good and play acceptably, even when it is in a bad state of repair. 

I was told that, at quite a considerable cost, the lid had recently been re-polished! Sure enough, the lid was beautifully French polished and looked as good as new. But am I alone in thinking the money was spent on the wrong part of the piano?

The guests pay good money to sit and eat in the 'award-winning' restaurant. Whether the top of the piano looks nice, is of no consequence to someone who cringes at the unharmonious sounds coming from the piano! I know I fuss about these things but a top restaurant is about good food - the clean plates and cutlery are taken for granted. Pianos made to look nice without a thought of what they sound like, is the same as serving poor food on clean plates.  

In such an exclusive hotel, where the best of everything is on offer, it is sad that a tired, old piano is considered good enough to entertain the guests as they enjoy award-winning food in such prestigious surroundings. 

Ah well, they might have got the piano wrong but at least they got the super-luxurious paper towels in the toilets right! 

To achieve an air of real class and prestige, surely the choice of piano ought to be a  little higher on the priority list!
© Steve Burden

Tuesday 12 June 2012

Piano Actions

The piano action is made up of thousands of components but its one single purpose is to present the pianist with an even and responsive touch. The repertoire of piano music can be played with so much more confidence and freedom when the pianist knows the full range of dynamic expression is at his fingertips. 

In the early days of piano history, fierce competition fuelled efforts to develop a strong, reliable piano action and to do it with efficient and economic methods of manufacture. The basic design of the piano action today is not significantly different from what it was 120 years ago. For a hundred years, generations of piano makers have been entrusted with a perfect working template.


Action makers in the early 1900s achieved an impressive degree of perfection - all  without the aid of computer technology. Even now, only minor variations in the comparative geometry of actions from different makers distinguish one from the other. Changes now, are restricted mostly to materials and glues. The use of carbon fibre is a most interesting development - clearly, the material's strength, coupled with its weight (or lack of it) opens exciting possibilities for its wider use in the construction of both piano and actions. 

The drawings of some of the early actions by the likes of Schroter (1717), Christofori (1707), and Stein (1780) are only primitive sketches. Very different from what the piano action has become. No doubt, these brave pioneers spent many tense hours thinking up new ideas and alternative ways to transfer the simple movement of the piano key through to the hammer and thus, to the string.

By 1850, Sebastian Erard had developed the piano action to the point of being recognised as more or less, the design used today. Further 'variations on the same theme' were tried, some proved useful, but many came to nothing. Herburger, Schwander, Langer, and Renner were among the best of the many action 'houses'. Actions made by these makers are found in many of the better quality pianos around today.

The recent rise of piano-making in China and the far east, has meant that the Piano Trade is now a truly global affair. It is sad for we nostalgic types in the west, where local piano-building traditions have all but died out, to accept that piano production has shifted almost entirely from the West to the East. This is the stark reality of our contemporary world. Materials are sourced from anywhere on the globe to make the piano a truly multi-national product. Perhaps it is too much to hope that peace and 'harmony' in the world might yet be a happy by-product from the manufacture of pianos!

The Piano World

© Steve Burden

Sunday 6 May 2012

Piano Action and Keys

The piano action and keys are the great link between the pianist and the music heard by the listener. This sophisticated mechanism is capable of a vast range of dynamics and expression - it is a masterpiece of engineering. Every one of the eighty-eight notes has it’s own key, it’s own hammer, it’s own strings and it’s own set of levers. 
The movement created by depressing the key, is delivered to the hammer via a series of levers. The hammer strikes the string - thus generating the audible musical sound of the chosen note.

The design of the piano action has altered very little over the last 120 years or so, which means that the basic piano action design was perfected long before the computer was even thought of - let alone being brought in to help. Those who devoted themselves to the task of developing the piano action, used sheer inventiveness and dedication to get their ideas to work.


A grand piano action

A quote from a book about piano action design by Walter Pfeiffer: “...the action is that much closer to perfection the less the player is aware of it” 

The modern piano has the potential to achieve this lofty state of function. Pianists, not having to worry about the technical aspects of the mechanism, are free to give themselves to making music. 

Technicians strive to get the very best out of a given piano. With their detailed understanding of the workings of the action, the piano becomes far more than just a machine. The less the player is aware of the mechanism, the more able is the artist to explore that mysterious zone only a musician understands - and thus the piano is to closer to perfection. 

The Piano World

© Steve Burden