Indonesia is China’s closest competitor in terms of price and quality. But unlike China, in which many small and large companies, domestic and foreign, are involved in piano manufacturing, virtually all pianos made in Indonesia are the products of three large, foreign players: Yamaha, Kawai, and Samick. For the U.S. market, Yamaha makes only one model, an entry-level grand, in Indonesia; Kawai makes all its small and medium-sized verticals there, and one entry-level grand; and Samick makes all its pianos for sale in North America there, both grand and vertical.
Overall, the manufacturing quality is similar to China’s, but Indonesia got to this level of quality more rapidly and is perhaps more consistent. This may have been due to the smaller number and, on average, larger size of Indonesia’s piano manufacturers, as well as to cultural and political differences between the countries. Development of manufacturing in Indonesia was aided by the fact that the country was already a democratic (more or less), capitalist nation with strong ties to the West, and accustomed to Western ways of working and doing business, with English widely spoken. The government does not own or manage the factories.
One of the big challenges in Indonesia, as in the rest of tropical Asia (which includes southern China), is climate control inside the factories, and the proper handling of wood to avoid problems later on when the instruments are shipped to drier countries and the wood dries out. All three companies, as well as Pearl River in southern China, have done a good job of meeting this challenge (though some only recently), but caution and proper climate control by the consumer are especially advised when these pianos are to be used in very difficult, dry indoor climates.
The Korean piano industry has had a tumultuous history, from its beginnings in the war-torn 1950s through its meteoric global rise in the 1980s; through labor unrest, the Asian economic crisis, and the abrupt collapse of the country’s piano industry in the 1990s; and most recently through bankruptcies, reorganizations, aborted takeovers, and more bankruptcies. Today, both Samick and Young Chang seem to be on relatively stable financial footing, the latter having just emerged from bankruptcy after being purchased by Hyundai Development Company. As mentioned earlier, due to high labor costs in Korea, both companies have moved most of their manufacturing elsewhere, limiting production at home to the more expensive models.
Quality control in the Korean models is now nearly as good as in pianos from Japan, but getting there has taken 30 years of two steps forward, one step back. The reasons for the slow development are probably numerous, but undoubtedly some are cultural in nature: Western piano-company personnel have often reported that their Korean counterparts can be proud people, reluctant to take advice from Americans (not that they necessarily should—unless they’re trying to sell products to Americans).
Musically, the two companies’ pianos have never really gained clear, aesthetic identities of their own, other than as very acceptable musical products. Periodic redesigns by German engineers, or American engineers with Germanic names (always sought by piano makers), have brought some progress, but never as much as was hoped for. Part of the reason for the lack of identity may be that there have been such a multitude of product lines made in different factories to constantly changing specifications that nothing has settled down long enough to stick. Internal politics and dealing with quality-control problems have also taken up much energy over the years.
Things are settling down now for both companies. Samick, in its upper- and mid-level lines, is producing some of its nicest pianos ever. Young Chang is playing catch-up, but also has some good designs, with new ones in the pipeline. Both companies’ top-level products have much to offer at good prices.