Upright Pianos - Everything You Ever Needed to Know About Upright Pianos

 

In today's article we are talking about Upright Pianos - literally everything you need to know about Upright Piano. If you're in the market for an upright piano, this is the article for you.

We're not going to tell you what piano to buy or how much money to spend, but we are going to cover all of the critical areas of difference between these lovely instruments, including the price ranges, the sizes, and what makes one different from another, and finally, how to go about selecting one.

Please check out the accompanying video for an even more in-depth explanation and some playing examples as well!

Opening Thoughts

Since, 2020, we have experienced an almost two-fold increase in the number of medium-range and premium-range upright pianos that are sold in Canada.

One has to ask the question - why? What are the trends that are driving these spikes in sales? Dovetailing with this question is another that often gets asked; "Why would I buy an upright piano that costs as much as a baby grand piano?" Most people have a traditional paradigm in their mind that says if you can afford the baby grand, that's always the preferred option, both from an aesthetic standpoint as well as a musical one.

That said, there are a number of realities that are pushing people towards these higher-end uprights, chief of which is the bevy of musical reasons why an upright piano might be a better alternative. Let's start there before moving into our upright piano overview.

Upright Pianos - General Overview

Space

The first reason someone would go with an upright is obviously space. More and more people out there are living in smaller urban situations, often times in stacked townhouses. Stacked townhouses of course come with a lot of stairwells. Grand pianos not only take up a lot of floor space, but they're also really challenging to deliver inside 0stacked townhouses and condos.

Design Innovations

A second reason is that there has been more innovation on the upright side of things than the grand side of things over the last several years. A big one is an advancement in hybrid and silent upright pianos available. Hybrid and silent grand pianos exist too, but there's been more advancement done on the upright side of things, and hybrid grands also happen to be very expensive. Now, let's look at upright pianos as a whole.

Upright Piano Sizing

Acoustic Upright pianos come in a number of different sizes. They typically start around 42" in height (generally known as a console piano), and go up inch by inch until about 54". The common sizes you'll typically encounter are 44", 46", and 48", which happens to be the size of the extremely popular Yamaha U1 and Kawai K-300 professional upright pianos.

The Yamaha U3 at 52" also happens to be a very popular vertical piano, and there are a few high-end German uprights that get up to 54".

You can't always draw absolute conclusions on things like scale design, string length, or soundboard size simply based on the cabinet size, but the size is a general barometer for how loud and powerful an upright piano is.

Price Ranges

Used Upright Pianos

What can you expect to pay for an upright piano on the private market or from a retailer? Starting at the very bottom, you can find used pianos for as little as free. These are typically smaller North American-made wood finish uprights from companies like Baldwin and Heintzman, typically built anywhere from 50 to 100 years ago.

 

Free Uprights

A free upright piano of this vintage is not going to be particularly musically successful. In many cases, if you really strip away all of the bias associated with acoustic versus digital, a digital piano for around $1,000 or so is actually going to give you a better instrument to play on than a free acoustic used upright, especially if the upright is a spinet piano.

 

$1,000-$4,000

Moving up from there and you'll start to find used Korean, Indonesian and Japanese pianos, anywhere from about $1,000 to $4,000 generally speaking. These are the instruments such as Yamaha U1s, Yamaha B series, Kawai K3s, Samick's, Young Chang's, etc., built from the early 1970s and on.

There's a thriving market for this kind of piano, especially Kawai and Yamaha uprights, and there are certainly some great deals to be had, even if you're not getting the piece of mind that comes with a new piano warranty.

 

$5,000-$20,000

This category is less common, but you will of course find lightly used uprights out there, as well as used high-end handmade upright pianos that will typically fall somewhere between $5,000-$20,000.

Of course, anyone spending upwards of $20,000 on a used upright piano is looking for a very specific type of instrument that is probably going to retail for in excess of $40,000 new.

 

New Upright Pianos

$4,000-$10,000

New upright pianos start at around the $4,000 USD range, and these are going to be for 44" (sometimes called studio pianos) factory-made upright pianos, typically built in Indonesia or China. If you're going with an instrument from a reputable company, Kawai and Yamaha, you can expect a mechanically sound instrument with a fairly consistent tone and stable tuning. There's not a lot of tonal refinement available at this price range, but for people who are just starting out, you can really start developing proper techniques and have an enjoyable musical experience.

 

$10,000-$15,000

The next jump brings us to about $10,000, and this is where you start to see 46", 48", and maybe even 50" pianos from those same companies. As the height increases, in some cases, so will the quality of the materials and the design, and a lot of these instruments are built both for the home, and for institutional settings.

Once we cross the $10,000 threshold, we start to get into the hybrid pianos, and hybrid in this case means pianos where there is some component of European manufacturing, combined with Chinese manufacturing. There are a number of brands that mix and match both labor and parts between a European factory and a Chinese factory.

In this category, we're basically trading off the advantage of Japanese assembly, for slightly more expensive components and design, offset by the lower costs of Chinese assembly.

 

$15,000-$20,000

The sweet spot for people looking for a really great balance of high-quality tone, high-quality materials, and manufacturing quality that is equal to that of a Japanese plant is when you get above $15,000. These are going to be European-built pianos, likely either from the Czech Republic, Poland, or possibly even Germany. These are instruments that can match or exceed the musical performance of a similarly priced baby grand. 

$20,000 & Up

Once you hit about the $20,000 mark it becomes a real connoisseur's marketplace. You're largely into European and American-built pianos at this point, and it becomes a highly subjective, highly personal matter of taste with fantastic sound quality, excellent responsiveness of touch, and timeless design. That $20,000 ranges all the way up to about $60,000 or $70,000 for the most expensive upright pianos in the world, such as the C. Bechstein Concert 8 or the Hamburg Steinway & Sons K-132. So, that's a rundown of the price ranges you can expect to see out there for upright pianos. Let's move on and discuss the key differences between a factory-made instrument, versus a handmade one.

Factory vs Handmade Craftsmanship

The term handmade is actually a bit of a misnomer, because there's actually some hand workmanship that goes into most factory pianos, and machines involved in making traditionally defined handmade pianos.

A much better way to look at these two categories is to think of limited production vs mass production, with limited production instruments also taking way longer to build.

Most of the upright pianos that carry the label handmade have had some machining that's been used along with computer automation, but there's been an enormous amount of time by one or several members of the assembly crew that has gone into assembling and regulating the action, the assembly of the shaping of the soundboard, and into the engineering of the carpentry to allow for the maximum resonance of all acoustic materials.

 

Manufacturing Time

The difference in the manufacturing time can be extraordinarily large. For a $4,000 or $5,000 factory-made upright piano, we could be looking at a total manufacturing time of just a few dozen hours, somewhere in the range of 30 to 50 hours. On the other hand, with the C. Bechstein Concert 8 for example, the manufacturing process takes over 300 hours!

As we would say, this huge amount of extra time leads to massive refinement in the soundboard, regulating the action at fanatical levels, and studiously voicing all of the hammers for maximum bloom on every note. And in the case of an instrument at this quality level, the entire cabinet is actually resonating as another acoustic component.

That pretty much sums up the difference between factory-made and handmade. Let's move on to differences with regard to country of origin.

 

Country of Origin

Another common question or line of research people get into is understanding the difference between American, Asian, and European-made upright pianos. Does the country of origin affect the musical performance or build the quality of a given instrument?

 

American Made Pianos

Let's talk about the quintessential American sound first. There are only three manufacturers remaining in the United States right now making upright pianos, which are Charles Walter, Mason & Hamlin, and Steinway.

Are there any consistent factors across these three piano makers? American uprights, much like American grands, tend to have a very mid-range heavy tone. There's often high use of maples and other hardwoods, which tend to accentuate mid-range frequencies. American pianos tend to have large dynamic ranges, and they're also known for their exterior furniture as well.

On the negative side, American pianos aren't known for particularly great actions or control. They are also not known for a great deal of tonal consistency from the lower range to the upper range. But, if you're looking for that specific American tonal profile, you won't find it elsewhere.

 

Asian Made Pianos

If you're looking for a more precise experience,  Asian and European pianos will offer a little more in this regard. When it comes to Asian pianos, it's very difficult to lump them into a single category, because while you have some very basic low-quality pianos from China, there are also so much nicer, more advanced pianos coming out of certain Chinese facilities.

You also have Japan with a very mature piano market that's literally 100 years old. There are also still Korean pianos, but that market has greatly declined and production has instead moved to Indonesia.

Is there any sort of tonal consistency to any one of these 4 Asian countries? With Japanese-made pianos, yes. Japanese Kawai and Yamaha pianos sound pretty consistent, if Kawai is considered darker and warmer, while Yamaha's are usually thought of as brighter with more attack.

Indonesian pianos are generally pretty consistent too. Beyond that, it's a complete mash of tonal styles, designs, and materials being used, to the point that isn't fair to say that there's an 'Asian' sound.

 

European Made Pianos

On the European side of things, you're generally getting higher grade materials, such as a more expensive or higher grade hammer felt and a higher grade of spruce used for the soundboard. The action regulation typically done at European factories tends to be very high also.

These refinements are generally going to deliver a more precise tone, especially with regard to the consistency across all ranges. There's typically going to be a higher degree of control in terms of the touch, and the quality of the build means the instrument is going to last longer.

We've covered some of the basics. Now, how do you go about choosing one of these pianos for yourself and for your home?

 

How to Choose an Upright Piano

Upright vs Hybrid Digital

What are the questions you should be asking while you decide on a piano? The first thing you'll have to decide is if you're going to go with a traditional acoustic upright or a digital/acoustic hybrid. An acoustic/digital hybrid is something that combines both digital components as well as acoustic components.

This combination allows an otherwise fully acoustic piano to be played completely silently. The Kawai K300 Aures for example has a digital piano control panel built right into the side, and you can mute the piano and plug-in set headphones so you can play without disturbing others. This added flexibility is a huge deal for some people, but it does add about $5,000 to the price.

 

Bass Clarity

Once you've decided whether you're going acoustic or with some type of acoustic-digital hybrid, the next questions really come down to playing style, tonal style, and spending some time in front of these prospective instruments.

There are areas on upright pianos that tend to be weak spots, and this is where a really great design immediately solves a lot of issues. One of the things that people focus on with upright pianos is bass clarity, and this is very difficult to achieve in a shorter instrument due to the shorter string length.

When you're first shopping for an upright piano, one of the things you'll want to look for is to make sure you're getting something that's got a nice clear bass tone. It doesn't mean that you have to get a 52-inch piano or even a 48-inch piano as there are shorter uprights out there with great bass registers.

 

Break

Another weak spot you'll find on some upright pianos is the break, which is the transitional area of the piano where it switches from steel strings to copper-wound strings. This transition can sound very abrasive and metallic if the design isn't well executed, so pay attention to that.

 

Action

The third weak spot can be the action. There are actions out there made entirely of wood, and others that combine wood with synthetic parts. While there's been debate about incorporating synthetic parts in the past,  the vast majority of the professional community, both on the technical side and musical side have both accepted and recognized that a really great synthetic action can be just as musical, and in some cases have significant maintenance benefits over inexpensive wood action.

So, don't focus on the material so much as the playing experience, which is the true test of whether or not you're playing a good action. Make sure to play the action at a very soft dynamic range, as well as medium and loud dynamic ranges to see how it responds. The hardest thing for an upright piano to do is to deliver accuracy when playing softly, particularly if you're playing fast at a low dynamic range.

Ultimately, you want to make sure that the action on the instrument you're considering can deliver what you need. This can be especially important for students and beginners who do their lessons or perform on a grand piano but practice on an upright at home.

 

Clarity of Tone

Our last suggestion for where to really judge an upright piano is going to be in the clarity of the tone, particularly in the top-end range of the instrument.

Upright treble strings are so short, proportionally speaking, that you need even more refinement at smaller tolerances in order to achieve really great clarity on the top of an upright piano. What we mean by clarity, in this case, is an absence of buzzing or uncontrolled harmonics.

Higher-quality uprights have great clarity and no distortion, while lower-quality ones start to distort when the volume gets pushed. Let's move on to our final section.

 

Differences Between Upright Pianos

In this final section here we'll discuss why one upright piano may differ from another upright piano. For instance, why does one 48" piano cost $8,000 while another 48" piano costs $30,000? Well, there are about eight or nine components in an upright piano that will directly contribute to both the cost and thus the quality of the musical experience.

Cabinet Construction

The first thing we'll focus on is the back post and overall cabinet construction. On our example instrument in the accompanying video, you'll see five large back posts. There is a variety of approaches that manufacturers take with back posts in general. The function of back posts, as well as the overall construction and design of that cabinet, is to provide strength and rigidity. When you get into a higher-level instrument, it actually also takes on tonal importance.

On something premium like a C. Bechstein, Bösendorfer, or Steingraeber, the cabinetry on the back is so precise and designed in a way that not only is it giving the instrument strength, but it's actually contributing to the transmission of energy and tone throughout both the soundboard as well as the cabinet.

On lower-grade instruments, back posts strictly serve a structural purpose, and they're not actually contributing a lot to the resonance of the instrument. So a key difference here is the level and design of the carpentry on a given piano.

 

Agraffes

Agraffes are another feature you'll generally only find on higher-end uprights. These contribute to further string alignment and ensure precise termination after the string has been struck. Their presence can help eliminate things like false beats and uncontrolled harmonics. Less expensive pianos will use a pressure bar for the same purpose, though a pressure bar is not considered as good as a set of agraffes.

 

The Bridge

A third difference is how the bridging has been approached. Like on a grand piano, there's quite a variety of bridge designs you'll see on various pianos, and an equally wide range of costs to execute said designs.

There's everything from a solid bridge with a single piece of wood, to hardwood bridges with a cap, to vertically laminated bridges, which is by far the most expensive type of bridge. The better the bridge, the better the energy from the strings is transmitted to the soundboard.

To pull this off effectively can get very expensive very quickly, so generally speaking, the less expensive the piano, the less expensive the bridge design.

 

Soundboard Material

The next difference is the soundboard, and this one is a big deal. Soundboards come in different sizes and with different materials selected. Virtually all soundboards use some type of spruce, but whether or not the spruce is solid or laminated makes a huge difference.

Laminated soundboards are actually significantly stronger and more stable, but the big knock against them is that with all of the layers of wood and glue, the soundboard's ability to resonate and sustain the vibration is dramatically reduced. You've got all sorts of factors that are actually going to suck up more energy.

As such, pretty much all mid-range and high-end soundboards are made with solid spruce, as the acoustic properties are just that much better.

 

Soundboard Design

The next difference in soundboard design is whether or not to taper or leave it untouched. All soundboards have some type of curve, but a tapered soundboard has been thinned out towards the edges, which allows more of the soundboard to activate and resonate. This means that a smaller tapered soundboard will resonate as much or more than a larger, non-tapered counterpart. This is a time-consuming process, so again, tapering starts to appear as you move up in quality, so less expensive pianos generally don't have tapered soundboards.

The last distinction with soundboards is the choice of spruce. The two main types are some form of White spruce (typically Alaskan or Austrian), versus Sitka spruce. Sitka is a very common, less expensive spruce that tends to have a warmer tone, but with less clarity and sustain. White spruce tends to be more expensive and has a tighter grain, meaning the wood is older and grows more slowly.

 

Action Refinement

Last but not least is the action, but it's quite simple - the more expensive the upright, the more refined the action is from a design standpoint and the more time that has gone into regulating the action at the factory level.

 

Closing Thoughts

Thanks so much for sticking with us through this long read. We hope you've found it helpful, but in any case, definitely check out the accompanying video at the top of the article so you can see and hear some of the things we discussed for yourself. If you're new to our channel, we would sincerely appreciate it if you would subscribe to our Youtube Channel.

And if you're in the Greater Toronto Area, don't hesitate to pop into one of our showrooms to try some used and new pianos out for yourself with a selection covering much of what's available out there in the piano world.

Visit Merriam Music for more piano reviews and articles.

The post Upright Pianos - Everything You Ever Needed to Know About Upright Pianos first appeared on Merriam Pianos

2359 Bristol Cir #200, Oakville, ON L6H 6P8

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(905) 829-2020

Where to Find the Kawai Serial Number & Where are Kawai Pianos Made?

 

One of the questions we get on pretty much a daily basis from customers all over the world is where to find the Kawai serial number on their piano, and more specifically, where does Kawai put them on their acoustic pianos. This is of course very important information if you’re looking at a second-hand piano, or looking to sell your own.

In this article and companion video, we’ll cover how to find the Kawai piano serial number production dates and actual dates of production, what the serial numbers actually mean, and by extension, where Kawai pianos are currently made.

Hopefully, this FAQ answers the questions you have and means you don’t have to contact Kawai directly.

 

Where to Find the Kawai Serial Number on a Grand Piano

So, let's start by addressing the easiest question of all; where to find the serial number on a Kawai piano.

Kawai grand piano serial numbers are going to be imprinted directly on this iron plate. The easiest way to see it is to simply remove the music desk and look just behind the tuning pins. Here you’ll find two different pieces of information stamped onto the plate.

The first will be the serial number - a 5 to 7-digit number that is preceded by a letter two. The second thing you’ll find stamped there will be the exact model number, whether that’s KG2, RX3, GL10, etc.

On some of the higher-end instruments, the model number might be a crest or emblazoned marking as in the case of a handmade Shigeru Kawai SK-7. In most cases, it’s likely to be ink directly on the plate just like the Kawai serial number is.

 

Where to Find the Kawai Serial Number on Upright Piano

The serial number is going to be located in a similar place on a Kawai upright piano, but given the inherent physical differences, you’ll go about finding it in a different way.

Typically, you’ll be able to see both the serial and model numbers if you flip open the top lid as both will be stamped towards the top of the plate.

The serial number will generally be on the right-hand side, and like on the grand pianos, will be anywhere from a 5 to a 7-digit number that may or may not be proceeded by a letter. To the left, you'll see an alphanumeric code that indicates the model, such as K-300, ND21, or a KX model for example.

 

What Does the Serial Number Tell Us?

The serial number can actually tell you quite a bit about a given piano besides the age. The Kawai Technical Support website has a fairly extensive list of serial numbers and serial number ranges separated by Country of production, which goes all the way to as recent as 2020 production.

 

Japanese Built Kawais

A couple of quick ways to tell where your musical instrument was produced are based on the format of the serial number. If you’re looking at a seven-digit number, that means that the piano was produced in Japan, very likely at the Ryuyo factory in Hamamatsu.

A seven-digit number also indicates that the piano was built from about the early 1970s onward. The current serial number ranges that you’ll find in more recently built pianos all start with a 25 or 26, with the latest crop getting up to about 2.7 million.

If there’s any doubt about whether or not a Kawai piano was made in Japan, you can rest assured that if there’s no letter in front of the seven-digit serial number, it was definitely Japanese-built.

Indonesian Built Kawais

Any Kawai serial numbers that are preceded by the letter F indicate that the piano was built at Kawai’s secondary factory in Karawang, Indonesia. They produce a number of different models at their Indonesian facility including the GL-10 baby grand piano, and K-15, and they also finish production on the K-200s here as well.

In some of those models, there are also a number of components coming in from Japan with final assembly taking place in Karawang, Indonesia.

These pianos usually start with the letter F which is followed typically by about a five-digit number. These numbers are also available on Kawai's website. Most of these pianos are usually no older than about 15 years old to 20 years old.

Chinese & North Americans Built Kawais

There are always questions about whether any Kawais are coming from China or whether another company that does a lot of OEM like Pearl River produces pianos for them.

In North America - and we can say this with complete confidence - every single Kawai piano coming into North America for sale is either produced at the Japanese factory in Ryuyo in Hamamatsu or at the Indonesian factory in Karawang. There are no Chinese-produced, partially Chinese-produced pianos that are landing in North America for sale within North America currently.

In the past, Kawai did produce their KX series uprights in China for the Canadian market, but production of the KX series pianos stopped in 2013. These pianos feature 5-digit serial numbers with no preceding letter.

Kawai was also produced from 1988 to 2004, and these pianos have 4 to 6-digit serial numbers preceded by the letter A.

Production Date vs Sold Date

One last consideration we need to point out; when looking up a serial number, we need to caution potential buyers about one idiosyncrasy of the piano industry that happens to be very different than electronics and cars.

In the piano business, there are a lot more difficulty warehousing products in the specific region where said product will eventually be sold. As a result, manufacturers tend to ship in very large batches which means that some pianos might end up sitting in the warehouse for a long time.

For example, this means you may be looking at a piano with a serial number stating it was built in 2017, yet the current owner is able to produce a receipt showing that it was purchased new in 2019.

Discrepancies like this are common and simply indicate that the piano was finished at the factory in 2017, but not sold until 2019. This is still a brand new piano in 2019 that never would have been out of the box and well taken care of in a climate-controlled environment up to the point of sale.

 

Wrap Up

We hope that this article and companion video has been able to shed a little bit of new light on where you can find the serial number on your Kawai pianos, and what that serial number may mean. We also have a handy serial number lookup on our website that may be of use to you too.

Thanks for reading!

The post Where to Find the Kawai Serial Number & Where are Kawai Pianos Made? first appeared on Merriam Pianos

2359 Bristol Cir #200, Oakville, ON L6H 6P8

merriammusic.com

(905) 829-2020

Upright vs Grand Pianos | Which is Better for You? | Common Misconceptions & Myths

 

As one of North America’s largest piano retailers, we’re blessed to get to interact with piano shoppers looking for upright, grand and digital pianos face-to-face, every single day.

As a result, we’ve been able to observe many of the common misconceptions a lot of people have with regard to upright vs grand pianos - specifically, as to how these two types of piano relate to one another. There are misconceptions surrounding every musical instrument, and pianos are certainly not immune.

In today’s article and companion video, we’re going to cover the 6 most commonly held misconceptions and myths we encounter related to comparing upright and grand pianos. Our goal is to clear up these misconceptions and hopefully shed some light on the conversation, especially if you’re trying to decide between these two types of acoustic pianos.

Let’s get into it.

Upright vs Grand Pianos - Background

Anyone who watches our YouTube channel or reads our blogs with any regularity will know that our company President and in-house piano reviewer Stu Harrison has a soft spot for great upright pianos.

This sentiment has definitely trickled down to the rest of us here at Merriam Pianos, and as a result, we often find customers shopping for a used or new piano surprised when we articulate some of the many virtues of the upright piano since some people have the idea that grand pianos are automatically superior to uprights.

This simply isn’t the case, and the topic requires much more nuance - you’re not necessarily compromising even if you have less space and have chosen to go with an upright. That’s really the impetus for this article - to clear up some of those biases lingering around out there that are simply not rooted in fact.

Here’s myth #1.

 

Myth #1: Grand Pianos are Always More Expensive than Upright Pianos

This myth simply isn’t true, but we need to add some additional context. Upright pianos vary in price with regular production models starting at around $3,000 and $4,000 and going all the way up to eclipsing the $70,000 mark. Of course, there are grand pianos that can be much higher priced than $70,000, but generally speaking, the vast majority of grand pianos that get sold cost somewhere in the $10,000 to $30,000 range. In other words, there's tons of overlap.

Now, why are the most expensive grand pianos more costly than the most expensive uprights? The single biggest reason for this price difference is the grand piano's rim. There are several different manufacturing techniques and material options that various manufacturers use ranging in price, but no matter what, constructing a rim greatly increases production time.

Generally, a good rule of thumb that we've used for guiding customers in this is if you want an equal quality upright to grand, then you generally have to double the price of a grand piano to get the same as what you're getting on a comparable upright. A Yamaha U1 for example will outplay just about any new equally priced grand piano.

 

Myth #2: Grand pianos are Louder than Upright Pianos

Just like our first myth, on its face, this myth is false. An upright piano with a similar-sized soundboard and similar-length strings will produce exactly the same volume as a grand piano with the same dimensions. For example, if you were looking at a 52” upright with approximately a 51-inch bass string length, a 5’8” to 5’10” grand piano will give you approximately the same size of the soundboard as well as string length.

We actually did this experiment for ourselves and measured the decibel output of a 50” C. Bechstein upright piano against a 6’2” Shigeru Kawai SK-3 and found that the volume output was exactly the same, and arguably even the overall sound quality.

As a result of inherent design differences and the reality that most people keep their upright piano lids closed, grand pianos will generally have better projection and sound louder, but this disparity lessens if the upright piano lid is opened. The other factor is that larger grand pianos from about the mid 6’ range up to 9’ simply don’t have comparable upright piano alternatives, thereby creating the impression that grands are simply louder than upright pianos.

 

Myth #3: Grand Pianos are for Advanced Players, Uprights are for Beginners

Out of the three myths so far, this one is closest to the truth, although, just like the other two, there are plenty of instances where this is simply not the case. Sure, at a certain level of advancement as a pianist, a grand piano is probably what you’ll want to have if you're preparing for performance, or doing some recording, but that only applies to certain people.

Grand pianos and upright pianos have several physical differences, but one of the most important differences is the action, and that’s very relevant here. On a grand piano's action, the hammer returns to its rest position almost entirely due to gravity at a low dynamic level and a combination of gravity plus rebound from the hammer striking the string when we're in an upper velocity or higher dynamic range (often referred to as escapement).

On an upright piano, gravity plays a role, but the hammer is not directly returned to its resting position because of gravity and its own weight. Instead, a piece in the action called a bridle strap helps reset the key. And it's a bit of a clumsy motion. In higher dynamic ranges control is just fine, but in lower dynamic ranges that control gets a little bit compromised.

Those differences between upright and grand actions mean that for advanced players (especially classical advanced players), a grand piano is going to give you a level of control and consistency that most uprights simply are not capable of.

Now, 99% of all piano buyers and players simply are not at that level which means that for beginners, hobbyists and even for people playing up to conservatory level 9 or 10, a really good upright piano is going to deliver a great musical experience without much or any compromise.

One other factor is if you’re practicing advanced repertoire and specifically need a sostenuto pedal you might think that an upright piano is out since the middle pedal is typically a mute pedal (the other two pedals are still the traditional soft pedal and damper pedal), but there are many fine uprights that are available with sostenuto pedals instead.

Myth #4: Upright Pianos Have a Lighter Touch than Grand Pianos

We hear this one a lot - sometimes from piano lesson teachers, other times from people who have owned a grand piano at some point in the past or know someone who has. A common phrase is, "An upright piano is okay to start with but to really build your finger strength, you need to get on a grand piano."

It is true that larger grand pianos usually have a slightly heavier touch. The reason for this is that larger grand pianos will tend to have larger hammers because they are striking longer strings.

But for a smaller grand piano where there isn’t the need to have a hammer that's any larger than what you get on an upright piano, there's actually no technical reason why a manufacturer would choose to have a grand piano with a heavier feel than an upright piano of a similar size in terms of string length or soundboard size.

If there is a difference, there's a very good chance that it’s because the grand piano has been under-regulated or under-lubricated, and the less expensive the piano, usually the less time is spent lubricating and regulating the action at the factory level.

If you've got a $10,000 upright piano, and a $10,000 grand piano, that upright piano is probably going to feel lighter because it’s received more lubrication and regulation. Pay a technician to regulate the action of that $10,000 grand and suddenly the weighting difference disappears.

 

Myth #5: Upright Pianos Have No Bass

This myth is false on its face and largely relates to the first myth about grand pianos being louder versus upright pianos being softer.

There's a huge overlap in bass string length and soundboard size between upright pianos and grands, and since the bass tone is largely (though not exclusively) a function of the length of the string and soundboard shaping, there's no reason why you can’t have a 52” upright piano producing about the same bass response and lush overtones as a grand piano up to about 6’ in length.

Anything beyond that size, and of course a larger grand piano is going to have longer bass strings and a larger soundboard, equaling a more powerful bass presence.

A 9’ foot Steinway D certainly has a better presence than any upright piano, and just about any grand piano will have a better bass than a spinet upright, but there are many vertical pianos that will outgun many baby grand pianos and other smaller grands in terms of bass response.

 

Myth #6: Grand Pianos Offer More Control than Uprights

This is probably the myth that’s the closest to being true out of the six on our list. Relating back to the technical differences we covered regarding the action mechanisms, grand pianos do offer a higher degree of control than uprights, assuming we’re talking about two instruments of the same quality.

As we mentioned, this is due in large part to gravity assisting in getting the hammer back into the rest position on grand pianos. The other reason grand pianos tend to offer more control is due to having longer key sticks, which means you’re working with a longer lever which in turn delivers the player greater control.

But again, there are going to be plenty of instances where a high-quality upright is going to offer superior control to a lower-quality small grand, so some nuance is required here.

To sum up, if we’re comparing apples to apples, then yes, a grand piano will offer superior control to a similar quality upright piano, especially in the hands of a professional pianist, and there’s no upright piano that matches the control of a good quality 9’ concert grand piano.

 

Closing Thoughts

We hope you’ve enjoyed this article covering the 6 most common myths we run into regarding the differences between upright and grand pianos.

We find some combination of these myths comes up constantly among folks shopping for a new upright, new grand or even a used piano of either persuasion, both among folks looking for a piano for their living room, and even committees shopping for a space somewhere short of the concert hall.

Thanks for reading!

The post Upright vs Grand Pianos | Which is Better for You? | Common Misconceptions & Myths first appeared on Merriam Pianos

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W Hoffmann T177 | Tradition Series | Grand Piano Review

 

 The W. Hoffmann series of pianos from the C. Bechstein Europe parent company presents many choices for today’s piano buyer. The Vision series is the entry point to the line and offers a modern, handcrafted European piano from the Czech Republic for about the price of a professional Japanese instrument, while the top-end Professional series serves as a lower-cost near copy of the German C. Bechstein Academy series.

Unlike the modernized scale designs of the Vision and Professional series, the Tradition series is built with the intention of capturing the essence of the great German pianos of the past.

Today, we’re going to be looking at the middle model in the Tradition line as we dive into the W Hoffmann T177 5’10” grand piano. We’ll be focusing on the sound, action as well as some design specifics. We’ll get started with some background information on the piano.

 

W Hoffmann T177 - Background Information

Made in the Czech Republic

The first thing to know about the W Hoffmann T177 is that it is a 100% European piano, made by C. Bechstein in the town of Hradec Králové in the Czech Republic. This is important to clarify because many so-called European grand and upright pianos are actually primarily built in Asia.

There's of course nothing wrong with that, but this is something that people can be quite sensitive about so it’s important to understand that when talking about a W. Hoffmann Tradition or Professional, we’re talking about a completely European acoustic piano.

The Vision by contrast uses strung-backs imported from Asia, but all of the assembly is done in the Czech Republic. Certain other pianos may feature a number of components, but all production and assembly occur in Asia.

 

Tradition vs Professional Series

The Professional series is the most expensive line from W. Hoffman while The Tradition costs a little bit less and sits in the middle of the pecking order. There’s no question that the T177 sounds quite different from a Professional series piano, but interestingly, it’s not really accurate to call the Professional series superior.

They're much more of a parallel product with two different design and tonal philosophies and both exemplify European quality. The T177 produces a warmer sound with a rounder attack than what the Professional series is delivering, which has a very specific bell-like tone.

The Professional series is also very forward in terms of its treble bias. In contrast, the Tradition series is darker, with an almost Shigeru Kawai-esque tone that manages to be warm and dark, yet colorful at the same time.

With some context out of the way, let’s move on to some specifics with regard to the T177’s design and features.

 

W Hoffmann T177 - Design Features

Duplex Scale

The T177 is equipped with several features which are important to highlight. For one, it's got a duplex scale which means that there are metal fulcrums behind the top treble sections to give the strings extra speaking length which adds to the top-end harmonics.

Most higher-end pianos feature duplex scaling as it’s a staple of premium piano making.

 

Solid White Spruce Soundboard

The T177 features a solid spruce soundboard - white spruce specifically that is grown in the Alpine region of Europe. This soundboard is not to the level of what you’ll find in a C. Bechstein Concert series, but this is still a very high-quality soundboard of slow-growth mountain spruce.

 

Hardwood Rim

Another key feature of the T177 is the fairly thick hardwood rim. It’s not hard rock maple as is somewhat common in the price range but instead, the rim features a combination of mahoganies, beaches and some maple.

This specific combination of hardwoods produces a great amount of projection, and also means that the T177 is built to last a long time.

 

C. Bechstein Hammers

After a massive investment in recent years, C. Bechstein is now making their own hammers in-house - they're not sourcing their hammers from a supplier. This means that every single model receives customized hammers with specific weighting and design to help maximize each piano’s tonal potential.

There are not very many piano makers still making their own hammers in this day and age and certainly not any other high-end boutique piano makers. C. Bechstein makes about 5,000 to 6,000 pianos per year compared to Kawai or Yamaha who make hundreds of thousands of pianos a year and also make their own hammers.

For C. Bechstein to have made this substantial investment shows their commitment to controlling as much of the production process as possible and not leaving anything to chance.

 

Grand Piano Action

Bechstein “Silver Line” Action

The T177 features a C. Bechstein-built action which they refer to as their “Silver Line” action. This is exactly the same action that goes into the W. Hoffmann pianos of the Professional series, and even the C. Bechstein Academy series.

The “Silver Action” shares much of the same fundamental design as the top “Gold Line” action reserved exclusively for the C. Bechstein Concert series pianos, but the big difference is the amount of time that the wood has been dried, the number of hours in the factory that it takes to assemble and regulate the actions.

So, essentially we have the same basic design, but everything is just a notch down from what the “Gold Line” action is delivering. There are still dozens and dozens of hours of prep time going into “Silver Line” action, it’s just not refined to the same fanatical degree as the “Gold Line”.

Feels like a Steinway

This action actually feels a lot like a slightly lighter version of a Steinway. The key bed feels a little bit more shallow than a Japanese piano, and a lot more shallow than a Fazioli.

Extremely good repetition speed and the responsiveness is totally on point. This is not going to be a torturous action for daily practice, and it’s more than fluid enough for the high demands of the most advanced repertoire.

 

Grand Piano Sound

Strong Treble

The first thing that really stands out about the T177 with regards to sound is the treble; it’s just so powerful with excellent projection.

The harmonics are very well controlled and crystal clear, yet there’s a good amount of color too. The attack is very immediate.

 

American Sounding Mid-Range

The Mid-range is what would typically be associated with a classic American sound- very much in the vein of a Steinway M or a Mason & Hamlin Model A.

The response and dynamic range are also very much in line with the American sound.

 

Bass Register

The bass is actually quite edgy which is a little bit unexpected. Even though we're in a lower price range than the C. Bechstein Academy series, the design is such that the notoriously difficult ‘break’ area is actually very smooth and more on par with a German instrument.

 

Closing Thoughts

Overall, the T177 is a very capable instrument that also happens to be very satisfying to play. It’s probably one of the most American-sounding European-built pianos we’ve ever played, which is really interesting given the fact that the T177 is marketed as being a German throwback instrument.

 

Great Value

What you're getting for the money here is really quite extraordinary. In our opinion, the value proposition is definitely stronger than say a New York Steinway given how exorbitant their pricing is, and quite frankly, there’s an argument to be made here that the value is better than a C. Bechstein Academy.

 

Wrap Up

Next time you’re in a Bechstein dealer’s showroom, see if they have a W Hoffmann T177 on the floor and give it a try. It just may be the perfect combination you’ve been looking for.

And with Bechstein’s optional Vario System add-on, the T177 might be your solution if you’re looking for a silent piano too.

The post W Hoffmann T177 | Tradition Series | Grand Piano Review first appeared on Merriam Pianos

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Piano Buying Tips: 10 Common Mistakes People Make When Buying A Piano

Piano Buying Tips - 10 Mistakes to Look Out For

Purchasing a first piano can be fairly intimidating, especially if you don’t already have a lot of experience with pianos.

Fortunately, here at Merriam Pianos, we’ve seen the piano purchasing process through with literally thousands of customers since our inception, from beginners to concert-level piano players, so we can safely say we know a thing or two about what people ought to look for when buying a piano.

Today, we’re going to tackle the 10 mistakes shoppers often make when buying a piano. We feel this list should be helpful to anybody who's embarking on the process of selecting an instrument for their home, school, church, studio or wherever it may be.

Avoiding these common mistakes will go a very long way in ensuring your long-term satisfaction with the instrument you end up choosing.

Mistake #1: Used is Better Value than New

The very first mistake is a common assumption many people make, which is that a used piano is automatically a better value than a new piano.

While there are cases where this is true, most of the time the overall marketplace has already factored in the value a buyer is getting for used versus new - as long as you understand the street price versus the list price of a new piano that you’re looking at, you'll simply be getting what you pay for.

For example, a used Yamaha U1 in a certain age category has a particular market price point that’s been largely set due to the fact that any used piano performs at a certain level markedly lower than a new counterpart.

If a new 48-inch Japanese piano is worth $9,000 to $10,000, the cost of a used model directly dovetails with this and will be anywhere from 1/3 to 2/3 depending on age and condition.

The main reason for this is that all pianos degrade, depreciate and wear out over time, without exception.

There is no such thing as a 20-year-old piano that is as good as a brand-new piano, with the exception of those rare barn finds where someone unearths a 20-year-old instrument that was never played. Obviously, something like this would be a killer deal, if you could find one.

In most cases, a used piano has received hundreds and even sometimes thousands of hours of use. The hammers are harder and have started to wear down, plus there's more play in the hammer action, meaning it’s going to be looser and less responsive.

The soundboard will have already received decades of down-bearing tension, which affects the soundboard crown, which in turn affects the dynamic potential of the sound.

Tuning stability may also be sub-optimal due to a variety of reasons, such as the humidity of the environment in which the piano is stored. The piano technician/tuner bills can add up quickly.

Finally, the aesthetic condition of a used piano is pretty much always going to be inferior to a new piano unless the instrument has been refinished.

However, this can be costly and would be reflected in the price. For most people, when they invest several thousand dollars into an instrument, they rightfully want it to look good.

All of that put together is to say this: when it comes to used versus new pianos, you get what you pay for.

New pianos are more expensive due to their superior musical potential, aesthetics, durability and warranty coverage. Used pianos cost less, and in the case of many Spinet pianos are available for free, for a reason.

 

Mistake #2: Buying Based on a “Discount”

This is another one we see all the time - the allure of a big percentage discount from the list price set by the manufacturer. This is an old sales technique that stretches across many industries, automobiles being the most common.

The piano industry is certainly not immune from this, and there's been a lot of good ink spilt on this subject over the years - Piano industry expert Larry Fine for example has opined on this with a great level of detail in several of his highly credible publications.

Here’s what this mistake comes down to; MSRP stands for manufacturer-suggested retail price, and is 100% set by the manufacturer without measure against any type of objective standard.

In the marketplace, there seems to be an inverse relationship between a piano's reputation regarding quality and how high or low the MSRP is.

The better the piano, and the more established the reputation of that instrument, the closer MSRP is likely to be to the actual legitimate street market price of that instrument, to the point where some instruments literally have no daylight between MSRP and what people are actually paying for these pianos.

For many decades, you could say that Steinway & Sons was the only manufacturer who achieved this, but these days there are a number of other manufacturers marketplace who have achieved this as well.

Estonia for example has set their MSRP very close to what the market actually pays for their good high-quality pianos, meaning they haven’t artificially inflated the MSRP to a point where dealers have an abundance of room to discount.

On the flip side of the equation, situations exist where lesser-known and lower-quality brands often dramatically inflate the MSRP of their pianos to achieve two things; for one, they're looking to achieve the perception of equivalence with much more established brands, by listing a high MSRP to artificially inflate the value.

Secondly, this gives less experienced and less established dealers a sales tool that can be effective at generating excitement, i.e. a large, time-limited discount.

This is a common tactic with lesser-known Chinese and Indonesian lines. Very rarely do you see this approach occurring with either North American, European or good-quality Asian-built pianos.

The market pricing is so well-established that people's impression or need for a sense of credible pricing on these instruments handcuffs the manufacturers in a way that is advantageous for consumers.

So, don't be allured by a super high discount based on MSRP from a slick salesperson because there's a very good chance that if you're getting something like 50% off the list price, this MSRP was artificially inflated in the first place.

 

Mistake #3: Underestimating a Piano’s Volume

Do not underestimate how loud a piano is!

We can’t tell you how many times every single year we get a call from a customer who was thrilled about their piano purchase only to receive delivery and a couple of weeks later be begging for some type of a solution due to the sheer power and volume a piano generates, especially when you dig into the key action and have the sustain pedal engaged.

Pianos are loud. They were built to be loud, and there’s no way around this.

Don't underestimate this and instead, actively plan for it. If you're in a small space or if you've got neighbours, carefully consider the size of the piano because size has a direct relationship to the volume that it produces.

You can also consider other mitigating strategies such as installing a silent system or going with a top-tier hybrid piano that’s actually able to produce a musical experience on par with a fully acoustic piano.

Mistake #4: Not Measuring Piano Size Correctly

This one might seem obvious, but just as often as we have people calling and looking for strategies to mitigate volume they weren't expecting, we get even more calls about this one - the piano won't fit. Measure!

This comes up a lot when we're talking about getting pianos into or out of basements and onto second floors.

Pianos are large and heavy so you need more than a centimetre of clearance to safely move one up and downstairs.

If you have measured at the music store and it's literally going to be within an inch, there's a very good chance that you are going to be taking on damage to the instrument itself or to the walls of your home.

This should be an expectation, and it is not a reflection on the moving company that you have selected if a problem occurs.

The vast majority of piano movers really care about the work they do, and often times issues arise simply due to folks having selected a piano too big for its desired end location.

 

Mistake #5: Allowing For Acclimatization

This next one has less to do with a shopping mistake and more to do with a misconception right at the same time as a shopping purchase.

Acoustic pianos, not so much digital pianos, need to acclimatize. There is a huge amount of tension on an acoustic piano, and the primary materials, wood and iron, are prone to shrinking and swelling with changes in humidity and temperature.

The humidity and temperature in a warehouse will be different than the humidity and temperature in a piano showroom, which in turn will be different from your home.

When the piano finally arrives in your home for the first time, there will be a period where the instrument goes through some changes while settling into the new environment.

This process often results in piano keys that are slightly sticky or at least a little stiffer than you might expect them to be. You may also find some ringing on certain strings, or a damper that isn't quite damping perfectly.

These are all signs of an instrument that is generally acclimatizing.

It's certainly a good idea to notify your dealer if these things occur shortly after delivery, but your first reflex should not be to think that you have bought a lemon as this is very common. and stretches across all piano brands and types of pianos.

If the humidity continues to be quite dynamic in your home, you can expect a lot of these behaviours to continue.

Creating a humidity environment that is stable can go a long way in preventing these issues from occurring, but even if they do, there’s no need to panic. Just keep in touch with your dealer and they can get the issues remedied.

 

Mistake #6: Not Considering The Mechanical Sounds Of A Silent System

This is one that wouldn't have needed mentioning even 10 years ago, but the increasing popularity of silent pianos has changed this.

And it makes perfect sense - people want to be able to enjoy all of the sound quality of an acoustic piano without making enemies of their friends, family, and neighbours.

With that in mind, it’s not surprising that we're seeing so many silent systems installed on acoustic pianos since the technology has really evolved in the last few years.

But here is what you need to keep in mind; the mechanical sound of a piano's action is anything but silent.

While the 80 decibels of tone that the piano produces due to the hammer striking the strings is eliminated, the marked mechanical noise that the action itself produces can’t be done away with.

Plus, most silent systems still have the hammer striking some type of bar which also produces noise.

With this in mind, we would encourage anyone considering a silent system to make sure you play one in a piano store and pay attention to the mechanical noise that isn’t done away with by the silent system.

 

Mistake #7: Buying Based On A Country's "Sound"

Often times we have customers visit one of our showrooms and the conversation starts something like this "I hate Japanese pianos, they're too tinny and the American sound is just a little too brash for me. I really prefer the high-quality European piano sound."

The problem here is that countries don't really have sounds. There is as much variety in the German piano-making industry as there is in the Japanese piano-making industry for example. Instead, countries have general quality standards that can translate to musical perceptions.

When you are competing in a marketplace where your consumer is accustomed to a particular standard of quality, you will generally find that all manufacturers will rise to the occasion. Otherwise, they simply won’t be able to compete.

Europe is steeped in musical culture, and as such the standards that the buying community apply to the piano manufacturing business are higher than buying audiences where the level of musical fluency isn't as well-established over multiple generations.

As such, German pianos generally are the best made, and the better made a piano is, the cleaner the sound will be.

Under that umbrella though, there’s a huge variety of tonal colours and palettes that are possible.

As a result, there are both light and dark pianos from Germany, as well as super colourful pianos and pianos with a very simple tonal profile.

The main thing they have in common is excellent craftsmanship resulting in cleanness of tone.

In terms of pianos from the United States, while there still are 3 US-based piano manufacturers, the classic American sound really just means the Steinway sound, as opposed to the Baldwin or Mason & Hamlin sound.

Japanese pianos are either going to be from Kawai or Yamaha, and these two manufacturers offer pianos that sound widely different from one another. To say there is a Japanese sound isn’t really accurate.

To summarize, while countries have generally consistent quality levels, the idea that all pianos from one country sound the same is not accurate.

 

Mistake #8: Assuming All Grands Are Better Than Uprights

Here’s another one that comes up all the time - shoppers assuming that baby grand pianos are always superior to upright pianos.

The fact is, grand pianos are not automatically better than upright pianos, plain and simple.

In fact, there are many instances where the quality of the materials and the execution of design on an upright piano will produce a more preferable musical experience than a grand piano of the same price.

This is a general guideline, but we have often found that if you’re seeking a grand piano with exactly the same fit and finish, material quality and design sophistication, you need to approximately double your budget from what a comparable upright piano would cost.

For example, if you were looking at a $20,000 upright piano, you would have to jump to approximately the $40,000 or $50,000 price range to get a grand piano that would be of equal overall quality.

Now, the aesthetics of a grand piano are unbeatable in a living room and the physics of the action come with their own benefits that may mean an otherwise lesser quality grand piano will still be a better piano for you, especially if you’re serious about advancing through piano lessons.

But don't assume that simply choosing a grand over an upright, in all cases, is always going to produce a superior musical experience.

 

Mistake #9: Not Considering Uprights Under 48 Inches

This one is a classic. Many people think they shouldn’t entertain an upright piano under 48” in height if they’re going to be doing the serious playing, likely due to something they heard from their piano teacher.

This idea likely came from the fact that the Yamaha U1 is 48” in height and is by the far the best-selling upright piano in North America over the last few decades. In Germany, the most common upright piano size is about 47” in height, so this belief simply doesn’t exist in the mind of consumers there.

The 48” mark is in reality arbitrary. If you automatically draw this line in the sand, you’re cutting yourself off from some fantastic options that come in under this mark.

The fact is, there are many excellent upright pianos available as small as 43”, so we would recommend considering uprights of all sizes.

 

Mistake #10: Shopping Dynamic

The very last item on our list is a little bit touchy, but we’ve seen this derail the shopping process many times and that is having convoluted decision-making dynamic.

Of course, there’s nothing wrong with different family members or a buying group making the final decision of which piano to go with, and having a strong degree of feedback will help in narrowing things down.

But once things have been narrowed down is where having multiple decision-makers can be quite problematic. Choosing a piano after you've made sure that you're in the right category and working with the right budget is extremely personal.

Somebody needs to be designated to take the lead at the very last stage and be the one to musically crown the winner. We’ve seen the entire process gets entirely derailed when there are too many cooks in the kitchen, so to speak.

It’s highly recommended that the person whose primarily going to be playing the instrument have the final say. After all, they’re the ones who will be spending countless hours in front of the piano when all is said and done.

Closing Thoughts

We hope you’ve found this article helpful. As we said in the intro, we at Merriam Pianos have helped thousands of families and individuals choose a piano over the years here at Merriam Pianos, and the above-listed 10 mistakes are extremely common.

If you’re able to avoid the mistakes we’ve listed, the odds greatly increase that you’ll end up with the right piano for you, whether you’re getting ready to learn piano for the first time, or highly experienced pianists and everything in between.

Thank you for reading our piano buying tips and happy shopping!

The post Piano Buying Tips: 10 Common Mistakes People Make When Buying A Piano first appeared on Merriam Pianos

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What Do The 3 Pedals on a Piano Do? - Grands & Upright Pianos

In this article, we'll go through the three piano pedals on both upright and grand pianos, and discuss what each one does and when you might use it. Although most piano players instinctively knowow what the right pedal does, the middle and left foot pedals are often misunderstood by a large percentage of beginner students and hobbyist players. Read on to find out more and increase your knowledge of the acoustic piano!

Grand Pianos

Let's start by looking at a grand piano. The vast majority of grand pianos sold today are equipped with three piano pedals. For the most part, those three pedals have the same function from piano to piano.

 

What Does the Right Pedal on a Piano Do?

The piano pedal on the right is referred to as the damper pedal or the sustain pedal because when you press this pedal with your right foot, all of the felt dampers raise up and the strings are free to vibrate and sustain as long as those dampers are raised. When single notes are played on a grand piano, as soon as the finger comes off the note, the notes immediately stop ringing. This is because as soon as the key is let go of, the damper comes back down and silences the string. When the damper pedal is engaged, however, all of the strings are free to ring out even after your finger has left the key.

What Does the Middle Pedal on a Piano Do?

The middle pedal on a grand piano is referred to as the sostenuto pedal. Interestingly, very few players actually make use of this pedal because it produces a highly specific effect that is only called for in select classical works. The middle pedal functions by allowing the player to sustain specific notes, with the other notes operating as normal with the dampers depressed. There's some romantic sheet music that calls for the use of this pedal, along with works by composers such as Claude Debussy and Maurice Ravel that make use of this pedal. But for the most part in mainstream piano playing the sostenuto pedal is a seldom-used feature.

What Does the Left Pedal on a Piano Do?

The left pedal on a grand is called the una corda pedal and actually moves the entire keyboard and hammers to the right. When it’s set up correctly, the hammers move enough to the right that the treble hammers only strike two strings instead of three, thereby reducing the total sound output and also changing the timbre slightly. This is probably the most misunderstood of the three pedals, but its use is actually called for fairly often in classical music.

 

Exceptions

While 99% of new grand pianos sold in 2020 feature the 3 pedals mentioned above, there are some notable exceptions. In some cases, the middle pedal on a grand piano rather than being a sostenuto is referred to as a bass sustain. In this case, instead of the middle pedal operating as a selective sustain pedal, just the bass notes section of dampers are raised when the pedal is pressed, allowing the player to play staccato notes in the treble section over the top. There are a few scenarios where this would be useful, but in general, this is very rare.

A few instruments in the high-end part of the industry also feature a fourth pedal. What that fourth pedal does in most cases is what the left pedal on an upright piano does - it actually shortens the distance that a hammer travels to the string, thus reducing the dynamic range. This essentially gives you two different soft pedals on the piano.

Upright Piano

We'll shift gears over to upright pianos now and highlight what's different from a grand piano.

 

The Right Piano Pedal

The right pedal on an upright piano does exactly the same thing as what the right pedal on a grand piano does - it sustains the sound of the piano, by lifting all of the dampers up. The right pedal is the most commonly used pedal both on grands and uprights because it's used to extend the limitations of only having 10 fingers since, in theory, you could get all 88 notes ringing at once.

Some piano teachers complain about the use of the right pedal, especially for younger students who aren't really sure how to use it properly and recommend a couple of years of piano lessons before adding in the right pedal. It's tough to give a generic answer as to when a student should start incorporating the right pedal, so it's best to follow your teacher's advice on that.

 

The Middle Piano Pedal

The middle pedal on most modern pianos of the upright persuasion is referred to as the practice pedal and activates what's called a mute rail. When activated, the mute rail lowers a piece of felt between the hammer and the string, so instead of the hammer strikes hitting the strings directly, it hits the extra sheet of felt which absorbs most of the energy. This is a nice feature if you need to practice quietly for whatever reason.

If we go back 30 or 40 years, the middle pedal was actually less common. There were a lot of instruments still being produced with just two pedals, which means that the mute function just simply wasn't there at all.

In a few rare cases, the middle pedal on an upright piano is a fully functional sostenuto pedal, just like on a grand. This is only found on a handful of instruments and is often available by special order only by manufacturers such as Bechstein, Steinway and Kawai.

The Left Piano Pedal

The left pedal moves all the hammers a few centimeters closer to the strings before the strings are struck, lowering the maximum force and velocity with which the hammers can strike the strings. This is sometimes called a quiet pedal or incorrectly referred to as an una corda (the name on a grand). It is incorrect to refer to it as such, because the hammer doesn’t shift left or right, reducing the number of strings it strikes, and in fact, the same strings are struck, but with less force.

 

Conclusion

We hope you found this article about piano pedals helpful. If you're considering a digital piano and wondering what the pedals do in that case, they typically attempt to recreate the 3 pedals of a grand piano. If your digital-only has a single pedal, it will be a damper pedal. Thanks for reading!

The post Piano Pedals | What Do The 3 Pedals on a Piano Do? first appeared on Merriam Pianos

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W Hoffmann P162 Professional Series | Baby Grand Piano Review

 

C Bechstein’s W Hoffmann brand offers an undeniably intriguing set of pianos. Consisting of three different lines of different quality, the W. Hoffmann is a fully European handmade alternative to a German piano for a fraction of the price.

In this article and review video we’ll be looking at the entry point to the Professional line - the top W. Hoffmann line - with the W Hoffmann P162 baby grand. We’ll do a rundown of the piano action and piano sound, as well as some other cool design/aesthetic tidbits.

W Hoffmann P162 - Playing Experience

Of all the instruments in the showroom right now, it's worth mentioning that this one has really managed to grab our company President and resident piano reviewer Stu’s attention and inspire some very creative moments.

Anyone who spends a lot of time around pianos will know what Stu’s referring to here - “it's very unusual for me to sit down in front of a piano that is less than $90,000 or $100,000 and have it genuinely take my breath away and cause me to play differently than I would normally. “ Stu opined.

He continued, “To me, that's one of the most interesting effects that a great instrument can have.”

Read on for our in-depth review of the W. Hoffmann P162 baby grand piano!

 

Baby Grand Piano Background

The C. Bechstein Europe’s P162, produced under the W. Hoffmann Professional brand is a baby grand with a massive musical range, a clear precise tone, fluid, and expertly-prepared action, and an attractive and unique silver color scheme.

 

Professional Series vs Tradition Series

The W. Hoffmann Professional series along with their Tradition series are both highly regarded all-European grand pianos that offer a high-value alternative to more expensive German pianos. The Professional series differs from the Tradition series in subtle ways, but nonetheless important to mention.

Both pianos use a different hammer and voicing style, different plates (and therefore also slightly different scale designs) as well as different bridge designs. The result is that the Professional series produces a more bell-like attack with long-sustaining trebles, as opposed to the darker and warmer tone of the Tradition series.

Made in the Czech Republic

The W Hoffmann P162 is made in Hradec Králové, Czech Republic at the old Bohemia piano factory which Bechstein acquired in 2006. Bechstein made a considerable investment in modernizing the factory with new CNC machinery and modern technology while maintaining much of the experienced workforce.

We generally don't spend too much time discussing specific piano factories in our reviews, but in this case, we're behooved to highlight Bechstein's Czech factory. This is a factory that's currently at its maximum possible output with the staff working day and night to try and fill back-orders.

Between the workforce, equipment and the substantial investment Bechstein has made, the result has been a stable of incredible instruments that more than compete against high-end Japanese options from Kawai and Yamaha. The Professional Series W. Hoffmann pianos are right at the top of the heap when it comes to what that Czech factory is putting out for Bechstein.

Alternative to the C. Bechstein Academy A160

The P162 is essentially a sister product to the Bechstein Academy A160. If you are ever fortunate enough to be able to sit down in front of an A160 and a P162 side by side, you're going to quickly notice that the scales designs and cabinets are virtually the same.

It's quite clear that Bechstein have exported some of the designs and a lot of the expertise out of their Berlin factory down the road two hours to the Czech factory and are producing a very similar product to the Academy, for about 20-30% less money.

Let’s jump over to some specifics regarding the action.

 

Baby Grand Piano Action

Bechstein’s Silver Line Action

The P162 uses Bechstein’s “Silver Line” action. This action features essentially the same geometry as the top-end “Gold Line” Action, but with lesser quality materials on certain parts, while also receiving less voicing and regulation.

As is the case with virtually all Bechstein pianos, this action is very fast, and nicely straddles the fine line between power and dynamic control.

The keybed is not as deep as a Japanese action, so it gives the player the perception of being a little bit lighter. When weighing the action it turns out it’s pretty much down the middle, but that shallower keybed definitely makes it feel lighter. We love this action and think it will be more than satisfying even for high-level playing.

 

Baby Grand Piano Sound

Nuanced Timbre

The sound of the P162 could aptly be described as both nuanced and delicate. The balance across the entire range is striking, and probably unmatched in this price and size range.

They have definitely achieved a real bell-like tone here, with characteristic mid and upper-mid-range Bechstein bloom.

The treble maintains the sense of delicacy while also boasting a remarkable sustain, and the ever-maligned ‘break’ area is very well executed.

Overall, the tone is more complex than the Tradition series, while also being brighter and clearer.

 

Design Features & Cabinet

The bridge on the P162 has some interesting contouring, which is accented with black paint and impossible to miss. It also has the duplex scale, capped maple bridges, beech/maple rims, solid Austrian white spruce soundboard, and a distinctive silver plate and nickel accents. The instrument is ONLY available in Ebony Polish and silver tones, it can’t be ordered in brass or in any other wood finish.

 

Conclusions

The W. Hoffmann Professional Series is one of the best-kept secrets of the piano world. In an industry that seems positioned between enormously expensive high-quality pianos, and hard-to-research lower-quality pianos from Asia, the Professional series might be entirely unique.

Designed entirely by C. Bechstein’s famous R&D team in Berlin, the Professional series shares many of the same materials and designs as the Bechstein Premium line of the same size.  And the pianos are hand-made entirely in Europe. All at a fraction of the price of what you normally pay for European-built and designed pianos.

The post W Hoffmann P162 Professional Series | Baby Grand Piano Review first appeared on Merriam Pianos

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