Repair jobs generally involve fixing isolated broken parts, such as a broken hammer, a missing string, or an improperly working pedal. That is, a repair does not necessarily involve upgrading the condition of the instrument as a whole, but addresses only specific broken or improperly adjusted parts.
Reconditioning always involves a general upgrading of the entire piano, but with as little actual replacement of parts as possible. For instance, reconditioning an old upright might include resurfacing the hammer felt (instead of replacing the hammers) and twisting (instead of replacing) the bass strings to improve their tone. However, definitions of reconditioning can vary widely: Many technicians would consider the replacement of hammers, tuning pins, and strings to be part of a reconditioning job in which more extensive work is either not needed or not cost-effective; others would call such work a partial rebuild.
Rebuilding is the most complete of the three levels of restoration. Ideally, rebuilding means putting the piano into "like new" condition. In practice, however, it may involve much less, depending on the needs and value of the particular instrument, the amount of money available, and the scrupulousness of the rebuilder. Restringing the piano and replacing the pinblock in a grand, as well as repairing or replacing the soundboard, would typically be parts of a rebuilding job. In the action, rebuilding would include replacing the hammer heads, damper felts, and key bushings, and replacing or completely overhauling other sets of parts as well. Refinishing the piano case is also generally part of the rebuilding process. Because of the confusion over the definitions of these terms, sometimes the term remanufacturing is used to distinguish the most complete rebuilding job possible--including replacement of the soundboard--from a lesser "rebuilding." However, there is no substitute for requesting from the technician an itemization of the work performed.
When considering buying a rebuilt piano, or having a piano rebuilt, particularly an expensive one, the rebuilder's experience level should count heavily in your decision. The complete rebuilding of a piano requires many dissimilar skills. The skills required for installing a soundboard, for example, are very different from those required for installing a new set of hammers or for regulating the action. Mastering all of these skills can take a very long time. In a sense, you should be shopping for the rebuilder as much as for the piano.
Many rebuilders contract out portions of the job, particularly the refinishing of the piano's case, to others who have special expertise. Although this has always been so, more recently groups of technicians, each with his or her own business and shop, have been openly advertising their close, long-term collaboration with one another on rebuilding jobs. In a typical collaboration of this type, one person might rebuild the strung back or soundbox (soundboard, bridges, pinblock, strings, tuning pins, cast-iron plate); another would rebuild the action and do the final musical finishing, such as regulating and voicing; and the third would refinish the case. Collaboration of this kind is a positive development, as it means that each technician does only what he or she does best, resulting in a better job for the customer. But make sure you know with whom you are contracting or from whom you are buying, and which technician is responsible for making things right if problems arise.
It may occur to you that you could save a lot of money by buying an unrestored piano and having a technician completely restore it, rather than buying the completely restored piano from the technician. This is often true. But the results of a rebuilding job tend to be musically uncertain. That is, if you are particular in your taste for tone and touch, you may or may not care for how the instrument ultimately turns out. For that reason, especially if a lot of money is involved, you might be better off letting the technician make the extra profit in return for taking the risk.
FALL 2009 -- page 54
TABLE OF CONTENTS
Hybrid & Player Pianos
New-Piano Buyers’ Reference