As mentioned above, one of the consequences of globalization is that parts and materials formerly available only to high-end makers are now for sale to any company, anywhere, that’s willing to pay for them. Thus, you’ll see a number of Asian firms marketing their pianos with a list of well-regarded brand-name components from Germany and North America, such as Renner, Röslau, Mapes, and Bolduc. The question then naturally arises: Given that high-end pianos are so expensive, and that today one can buy for so little a Chinese-made piano with German design, German parts, and perhaps even a German name, is it still worth buying a performance-grade piano made in the West? Are there any differences worth paying for?
There’s no question that high-end components, such as Renner hammers and Bolduc soundboards, add to the quality and value of consumer-grade pianos in which they’re used. But in terms of quality, components such as these are only the tip of the iceberg. Although the difference between performance- and consumer-grade pianos has narrowed, in many ways the two types of manufacturers still live in different worlds. Differences are manifested in such things as the selection, drying, and use of wood; final regulation and voicing; and attention to technical and cosmetic details.
Makers of performance-grade pianos use higher grades of wood, selected for finer grain, more even color, or greater hardness, strength, and/or acoustical properties, as the use requires. Wood is seasoned more carefully and for longer periods of time, resulting in greater dimensional stability and a longer-lasting product. Veneers are more carefully matched, and finishes polished to a greater smoothness. Action assemblies purchased from suppliers may be taken apart and put back together to more exacting tolerances than originally supplied. The workspace is set up to allow workers more time to complete their tasks and a greater opportunity to catch and correct errors. Much more time is spent on final regulation and voicing, with an instrument not leaving the factory, in some cases, until a musician has had an opportunity to play it and be satisfied. Of course, the degree to which these manifestations of quality, and many others not mentioned, are present will vary by brand and circumstance, but underlying them all is this philosophical difference: with performance-grade pianos, the driving force behind decision-making tends to be the quality of the product; with consumer-grade pianos, cost is a greater factor.