By Robert T. Furst
This Consumer Information Guide is designed to provide piano customers
with an unbiased point of view into the construction of pianos. This
information should be of help to identify the quality of a given piano
and is intended to eliminate wild and exaggerated claims of quality and
merit in others.
There is clearly disparity in pianos, differences in proficiency and
tone, but there is a very identifiable unifying thread which runs
through all good pianos. That thread not only is a desire for
excellence, it is also a sense of understanding and the impact of music
in our lives. The evidence of this good and the enjoyment of a truly
good piano is tangible. We welcome the opportunity to share it with you.
Sincerely,
Robert T. Furst
Creator, Founder & Executive Director
National
Piano Institute
Copyright 1990 © Robert T.
Furst -
All Rights Reserved
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NATIONAL PIANO INFORMATION
CENTER
CONSUMER INFORMATION GUIDE
Pianos are manufactured in two ways. The important difference between
pianos is the amount of time spent in assembling the various parts into
the case and bringing individual instruments up to their final tone
quality. Pianos manufactured in this traditional manner may take from
nine months to a year to put on the finishing touches. Workers
throughout the generations of piano builders were taught the ways and
techniques of their trade by the elder craftsmen - it was the only way -
because until just recently there existed no blueprints showing how the
best pianos were built. Each craftsman uses only his own un powered hand
tools on "his" piano - beginning its life and seeing it to finished
construction. Each piano reflects the ability and tonal ideas of its
maker. This is why pianos of the same model and make all sound so
different from each other.
Although less expensive, two lines of well made, elegantly styled and
beautifully finished pianos have in the past few years enjoyed more
recognition as a very fine value in Japanese-made instruments. Although
less expensive than the best known American brands, they have set
challenging standards to all others in the world, they are the Kawai and
Yamaha. Their factories boast the latest in modern state-of-the-art
production techniques, such as computer controlled drying chambers that
monitor the humidity content of all wood materials used, and laser beam
guidance systems that make precision fitting of all parts tolerant to
one six-thousandth of an inch, the use of space age plastics such as ABS
Styran that will never be effected by moisture and outlast wood.
Initially, the traditional manufacturers attacked this kind of building
philosophy an economic sellout to the pressures of modern mass
manufacturing. Kawai and Yamaha do indeed represent the answer to
Baldwin, Mason & Hamlin and Steinway, and parallels between them have
already been well established.
Kawai and Yamaha both have very logical
organized factory outlets and super-efficient production processes and
both share a philosophy of machine over man wherever perfection is desired
and cost effectiveness to the consumer is a consideration.
The proof of the pudding ... as the saying
goes or as the traditional manufacturers claim, yes, the Yamaha lacks
depth of tone when compared with the very best, not so with Kawai, whose
tone is said to have a fine, luminous tone, reminiscent of a Viennese or
German piano, yet it is a tone of full brilliance and depth when required
by professions everywhere. As with Yamaha, Kawai's virtues are the
undeniably consistent attention to overall design parameters such as the
construction of the inner parts, fit and finish, and dependable evenness
of touch responsiveness which is always made to 100 percent consistent
specifications from piano to piano.
The fame and reputation of pianos such as
Bechstein, Bosendorfer, Grotrian as with Steinway, lies principally in the
construction of concert grand pianos. We must seriously question the
practicality of buying the smaller models, since generally they do not
represent a very good value to the consumer for the price. Because without
the longer strings and soundboard area of at least the semi-concert grand,
they do not demonstrate the famous qualities of tone which are readily
recognized in the larger models. In addition there are very limited
advantages to hand crafted instruments in a smaller size, since most of
the subtle refinements these manufacturers lavish upon their pianos are
not readily apparent to ear or fingers. This same statement holds true to
other European imports such as Ibach, Seiler, Schimmel or Erard. They are
all very fme instruments in their own right, but questionable as to
investment value in the smaller piano category.
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INVESTMENT (I.Q.) QUALITY
Investment quality is based on a variety
of factors, the most important of which are price; styling; brand
name; availability; service; and perceived determinants of quality such
as tone, tuning stability, workmanship, beauty, and durability. In 1974
the average price of a quality well known console piano was $1,246, both
imported and domestic. They are:
|
BRAND |
SIZE |
PRICE |
BRAND |
SIZE. |
PRICE |
|
Baldwin |
41" |
$1,470 |
Sohmer |
41" |
$1,415 |
|
Cable-Nelson
|
41" |
$ 945 |
Steinway |
40" |
$2,774 |
|
Cline |
40" |
$1,295 |
Story&Clark |
40" |
$ 945 |
|
Kawai |
41" |
$1,064 |
Weber |
40" |
$ 850 |
|
Kimball |
42" |
$ 900 |
Wurlitzer |
42" |
$1,395 |
|
Krakauer |
41" |
$1,210 |
Winter |
40" |
$ 925 |
|
Schafer&Sons
|
42" |
$1,185 |
Yamaha |
42" |
$1,075 |
During 1989, fifteen years later, any of the
pianos listed above used in good condition will resale for between $1,500
and $4,400 depending on make and model. In all cases the pianos listed
above have appreciated in value.
The two major producers in Japan, Kawai and
Yamaha used the following approach to enter the U .S, market. Each offered
a limited selection of moderately-priced, good quality uprights and grand
pianos in 1960. Over the next two decades each upgraded the quality of its
pianos and broadened its range of price points, models, and styles. In
addition they expanded their technical and educational services to
dealers, piano tuners, teachers and potential customers.
Three Korean producers began exporting to
the U.S. market in 1978 (Samick), 1980 (Young Chang), and 1981 (Sojin).
Korean producers quickly began emphasizing low-end grand pianos. By 1984
grands constituted 47% of pianos from Korea, compared with 35% of the
pianos imported from Japan, and only 4% Shipped by U.S. producers. Grand
pianos are more labor intensive than vertical pianos.
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According to the U.S. Department of Labor
applying average hourly labor rates to the typical number of man hours
required to build a grand piano in the United States labor cost was
$1,886.40. Compared to $931.20 in Japan and $195.20 in Korea. In addition
Korea has long enjoyed most favored nation status, giving the Korean
producers a greater cost advantage than the U.S. or Japanese producers.
It is a well established fact that all good
pianos will hold their value or will appreciate in value. The same fact
applies to the Korean piano of the present, any statement opposing this
view are usually born of competitors defeat and not worthy of
consideration.
Buying a piano is a matter of eye and ear
combined, plus the character of the merchant who sells it, backed by the
manufacturer. The prospective buyer of a piano should deal with a local
dealer familiar with the instruments, and if he is honest and reliable you
may depend on what he tells you concerning them. The three essentials to a good piano are tone,
touch, and durability. Next is the beauty of case design. The standard
cases are made of veneers of walnut, oak, fruitwood and pecan. Pianos such
as ebony, white, and ivory are very popular and easy to care for. Durability is important. The manufacturers
warrantee covers that and the dealer will endorse the manufacturer.
If you are an aspiring artist or a professional musician, you should buy
the largest piano you have space for and the finest built in your own
estimation. The piano should have nothing less than complete artistic
capabilities. The extra cost will not amount to much when spread over the
years, and you will receive the extra benefit of owning and playing a
piano of superior quality.
On the other hand, pianos of lower cost are
more likely to be made out of lower cost materials and will be more
difficult to service or keep in tune. A piano requires skilled
craftsmanship and superior materials to build which takes years of
experience and know how to develop. A piano is a precision engineered
musical instrument. The strings are pulled to high tension (average 170
pounds per string, 220 strings, total tension, about 40,000 pounds of
tension, about the combined weight of nine full sized automobiles). The
back posts and cast iron plate work in concert to support this tremendous
tension of the strings. The reasons why it is necessary to have the
strongest structure possible to support string tension is:
1. To prevent the back of the piano from warping
and twisting.
2. To enable the piano to stay in tune.
3. Without this solidarity in the structure the many parts of the piano
could not function properly.
We have examined the various materials used in
each piano and the manner in which they are used. We have subjected each
piano to various tests in tone and touch, and we have judged the
aesthetics of the outer case and inner workings of each instrument by
actual inspection of production models on dealer floors, as well as the
critical analysis of the published specifications and general information
provided in manufacturers brochures. All of these factors have been
considered in this analysis of pianos sold in the United States.
Ten features have enabled us to establish a
criterion for grading and measuring the quality of a given piano line.
These ratings reflect consistency in the quality of all instruments
bearing a particular brand name and are an average of all instruments
bearing that name.
We use the formula of one point for each
feature that meets or exceeds our criterion, and deduct one point for each
feature that does not meet our requirements. This should serve as a guide
if you wish to conduct the same test for a particular piano.
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QUALITY [Q.R.] RATING
THE BASIC STRUCTURE:
The following information was compiled to
evaluate the general specifications as listed by individual manufacturers,
and will enable us to establish a criteria in our analysis.
A. THE BACK POSTS:
· Size of the post; not only width
but depth.
· Double or triple posts
· Posts extend all the way to the
top of the piano
Posts extend all the way to the bottom in a tight mortise and tenion
construction.
(MORTISE - A notch, or hole shaped to fit
TENON - a projecting part for insertion into another piece to make a
joint.)
B. MATERIAL OF BACK POSTS:
· Solid spruce, not poplar / oak
· Strongest wood for its weight
· Resists splitting and cracking
· Spruce lengthwise grain is
straight close and dense provides rigid support.
· Backposts bolted to cast iron
plate
C. THE PINBLOCK:
· Quarter sawn hard rock maple,
cross laminated, 2" thick.
· Number of plies not as
important as type and cut of wood.
D. THE SOUNDBOARD:
· One thickness spruce.
· The term "Solid" referring to
spruce in soundboards is semantically misleading today because builders of
laminated boards, where all three
layers are spruce, refer to the board as
"solid" spruce, meaning it is "all" spruce.
E. SOUNDBOARD Ribs-
• Spruce ribs, quarter sawn and feathered at
each end.
F BRIDGES-
• The treble bridge should consist of solid
quarter sawn rock maple material.
• The treble bridge is glued to the
soundboard and doweled through the soundboard into each rib.
• The bass bridge should consist of solid
quarter sawn rock maple with a cantilever for tone transmission.
G.ACTION:
• Direct blow with action parts all perfectly
spaced and in line when viewed from front or side of piano, this is a
tip-off on quality, examine it closely.
• Action rails made of extruded aluminum and
a tubulous aluminum hammer rest rail.
H. STRINGING:
• Bass strings are pure copper wound, not
copper dipped.
• Longest string length (speaking length)
Strings should be perfectly spaced (none
touching) just below bearing bar. Tip-off to quality.
I. CASE PARTS:
• Side, arm, leg base and lower end pieces
all glued together to form a solid, single (homogeneous) unit.
• Keycover (fall board) is grand type,
hinged, not slide out. Key slip should match perfectly, both should be
easily removed for servicing.
• Casters heavy duty, either hard rubber or
solid brass, free moving.
• Pedals should be solid brass, not brass
capped, three in number, drop type for comfort soft (una corda), loud
(sustaining), and sostenuto or a practice pedal (muffler).
• Case parts should be fmished without any
visible flaw even in critical light, no small ripples in finish, no running
of varnish on inside of cabinet.
J. THE KEYBED:
• The keybed should consist of at least four
panels with tongue and groove construction. It should be unglued to allow
for expansion and contraction.
• The
material in the keybed is spruce.
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Quality (Q.R.) and Investment (I.Q) Rating
BRAND NAME
MANUFACTURER Q.R.
I.Q.
RETAIL PRICE
|
Acrosonic |
Baldwin |
10 |
10+ |
$3,542 - $4,265 |
|
Astin - Weight |
|
10 |
10 |
$4,780 - $5,500 |
|
August Forster |
(European) |
10 |
4 |
$18,500 - $34,000 |
|
Baldwin |
|
10 |
10 |
$2,460 - $32,500 |
|
Barock |
(Japan) |
7 |
4 |
n/a |
|
Bechstein, C. |
(European) |
10 |
8 |
$10,000 - $55,000 |
|
Becker |
Kimball |
6 |
3 |
$1,395 |
|
Blessing |
(Chinese) |
4 |
2 |
n/a |
|
Bluthner |
(European) |
10 |
7 |
n/a |
|
Bosendorfer |
(European) |
10 |
8 |
$14,300 - $69,600 |
|
Charles R. Walter |
|
10 |
10 |
$4,700 - $5,500 |
|
Classic Player |
Pianos |
10 |
10 |
$8,995 |
|
Diapason |
Kawai |
10 |
8 |
$4,650 - $14,900 |
|
Falcone |
Falcone |
10 |
10 |
n/a |
|
Everett |
Yamaha/Everett |
8 |
8 |
$3,700+ |
|
Fazer |
(European) |
10 |
8 |
n/a |
|
Feurich |
(European) |
10 |
6 |
n/a |
|
Hamilton |
Baldwin |
10 |
10 |
$4,400 - $4,800 |
|
Handok |
(Korean) |
6 |
3 |
n/a |
|
Ranil |
(Korean) |
6 |
3 |
n/a |
|
Hanover |
(Chinese) |
4 |
2 |
n/a |
|
Heintzman |
(Canadian) |
10 |
7 |
n/a |
|
Hinze |
Kimball |
4 |
2 |
$2,100 |
|
Hohner |
(European |
3 |
2 |
$2,000 |
|
Howard |
Baldwin |
6 |
7 |
$7,800 - $9,600 |
|
Hsing Hai |
(Chinese) |
4 |
2 |
n/a |
|
Hyundai |
Samick (Korea) |
6 |
6 |
$7,500 - $9,700 |
|
Ibach |
(European) |
10 |
9 |
n/a |
|
Jasper- Kimball |
0 |
3 |
3 |
$2,000 |
|
Kawai |
(Japanese) |
10 |
10+ |
$3,840 - $43,200 |
|
Kimball |
|
7 |
9 |
$1,900 - $14,300 |
|
Knight |
(European) |
10 |
8 |
$4,500+ |
|
La Petite |
Kimball |
6 |
9 |
$6,700+ |
|
Maeari |
Samick (Korean) |
6 |
6 |
n/a |
|
Mason & Hamlin |
Sohmer |
10 |
10+ |
$5,600 - $27,000 |
|
Nieer |
(Chinese) |
2 |
2 |
$1,800+ |
|
Pearl River |
(Chinese) |
2 |
2 |
$1,500 - $2,100 |
|
Petrof |
(European) |
8 |
8 |
$3,800 - $12,000 |
|
Rippen |
(European) |
7 |
5 |
$3,200 |
|
Samick |
(Korean) |
9 |
9 |
$2,600 - $29,700 |
|
Schafer & Sons |
|
10 |
10 |
$2,500 - $32,000 |
|
Scheidmeyer |
Kawai (Japanese) |
10 |
10 |
$5,700 - $21,000 |
|
Schimmel |
(European) |
10 |
10 |
$7,500 - $42,000 |
|
Schumann |
Samick (Korean) |
8 |
6 |
$3,000 - $14,000 |
|
Seiler |
(European) |
10 |
10 |
n/a |
|
Sherman Clay |
Sojin (Korean) |
10 |
9 |
n/a |
|
Sohmer |
|
10 |
10 |
$5,600 - $28,000 |
|
Sojin |
(Korean) |
10 |
9 |
$2,500 - $29,000 |
|
Steinway & Sons |
|
10 |
10+ |
$6,800 - $46,000 |
|
Tadashi |
(Japanese) |
10 |
7 |
n/a |
|
Tokai |
(Japanese) |
10 |
7 |
n/a |
|
Toyo |
(Japanese) |
10 |
7 |
n/a |
|
Weber |
Young Chang (Korean) |
8 |
9 |
See Young Chang |
|
Wurlitzer |
Baldwin |
7 |
10 |
$2,800+ |
|
Yamaha |
(Japanese) |
10 |
10+ |
$3,500 - $43,000 |
|
Young Chang |
(Korean) |
10 |
9 |
$2,700 - $32,000 |
|
|
|
|
|
|
|
+
Indicates best known
brand names and better resale value |
Copyright 1990 © Robert T.
Furst -
All Rights Reserved
Robert T. Furst - Executive
Director
Founder National
Piano Institute
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