FALL 2012 — page 68

The Definitive Guide to Buying New, Used, and Restored Pianos

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Grand Action Friction Points. Shown here, in a single note of a grand piano action, are the many points where friction needs to be minimized or controlled through the cleaning, polishing, lubricating, replacing, resurfacing, repinning, and/or positioning of parts.

Geometry

A piano’s action is an assemblage of levers that move in intersecting arcs of motion, and these parts must be installed in correct relationship to each other in order to operate optimally. These relationships are known as the action’s geometry. Even in fine pianos, many reasons for geometry problems can arise. Some new pianos leave the factory with these problems, but most often they result from rebuilds done over the last 40 years, a period during which replacement parts in the original dimensions were often unavailable. In some cases, a piano born with poor action geometry has been rebuilt, and the problems have become even worse.

In the last 15 years, better parts have become available, and action manufacturers are now much more astute in anticipating the problems that can arise in replacing action parts. Piano technicians, too, have developed more sophisticated methods of addressing geometry issues, including: changing the locations of specific action parts, resetting the position of the entire action stack relative to the keyboard and strings, adding or removing action cloth, rehanging hammers, or installing a completely new action. Most important is that the proper analysis be made of the extent to which poor action geometry is contributing to the problems reported by the player.

Action Regulation

As keys are played, pads of cloth, leather, and other materials serve to silence the action parts as they move. As these materials pack down and wear with use, the positions of the parts change slightly over time, and periodically need to be brought back to their original positions in order for the instrument to play properly, a procedure known as action regulation.

 
 

FALL 2012 — page 68

 

 

 
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A Message from the Publisher (p. 1)

The Prodigious Power of Piano Playing (p. 7)

Acoustic or Digital: What’s Best For Me? (p. 11)

FEATURE ARTICLES

Review: Seiler Model 186 (p. 49)

Regulation & Voicing: What Buyers of Performance-Quality Pianos Should Know (p. 67)

One by One: Boutique Piano Builders in the 21st Century (p. 81)

ACOUSTIC PIANOS

Piano Buying Basics (p. 13)

The New-Piano Market Today (p. 35)

A Map of the Market for New Pianos (Ratings) (p. 44)

Buying a Used or Restored Piano (p. 51)

Buying a High-End Piano (p. 75)

Buying Pianos For an Institution (p. 85)

Piano Maintenance in Institutions (p. 91)

How to Make a Piano Room Sound Grand (p. 93)

Caring For Your Piano (p. 99)

Benches, Lamps, Accessories, and Problem Solvers (p. 103)

DIGITAL PIANOS

Buying a Digital Piano (p. 109)

Digital Piano Basics, Part 1: Imitating the Acoustic Piano (p. 116)

Digital Piano Basics, Part 2: Beyond the Acoustic Piano (p. 122)

My Other Piano is a Computer: An Introduction to Software Pianos (p. 132)

HYBRID & PLAYER PIANOS

Hybrid Pianos (p. 134)

Buying an Electronic Player-Piano System (p. 138)

NEW-PIANO BUYERS’ REFERENCE

Acoustic Pianos

Brand & Company Profiles (p. 151)

Digital Pianos

Brand & Company Profiles (p. 255)

Advertiser Index/Photo Credits (p. 280)

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