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 2020 � 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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