Lucky Me

In the piano business we get to meet and associate with interesting people and brilliant artists. I’ve shaken hands with Diane Keaton, had a beer with Ben Gazzara, met Jule Styne, Abe Burrows and Marvin Hamlisch. I’ve listened to Byron Janis and Walter Hautzig play the piano with only myself in attendance. I’ve sold a piano to Daryl Hannah, met Edgar Winter, Norah Jones and Chick Corea, and said hello to Michael Bloomberg and Pat Kennedy. I’ve ridden in a car with Paul Sorvino, and visited frequently with Henry Steinway. I consider myself exceptionally lucky and privileged to be doing something I love, surrounded by some of the great artists of our time.

Experience Counts

I may not know everything there is to know about pianos, but I know a lot. After over 40 years of working on them, in factories, rebuilding shops and homes, I have come across enough scenarios to have seen almost everything. The areas I am not expert in I continue to learn, or depend upon my fellow technician’s expertise in their specialties. We are like doctors - none of us are expert at everything. That is why I have a soundboard man, and a damper man and a refinisher. They are all hand-picked and have the same, long-term experience. So when we rebuild or service a piano, you can be assured you are getting the best of every aspect. We wouldn’t have it any other way.

ACTION!!!

No, not that type of action. What piano people mean when they say “action”.

Yeah, it’s a little different than the other definitions you may be familiar with. When piano people say “action” they are referring to the mechanisms that engage and operate when one’s hands press the keys on the piano’s keyboard. One might hear the terms “light”, or “heavy” or “sluggish” in regards to this term. And just like piano tone, there exists different preferences amongst pianists. The piano action can be adjusted by altering weights in the keys, or by adjusting one or more of the many parts involved in projecting the hammers toward the strings. These adjustments are called “action regulation” and should be performed in relation to the amount of use, or to alter the feel to the owner’s taste.

A moment in history

By the time Walter Drasche began working for Steinway & Sons, his grandfather and three uncles had already been employed there. The only non-Drasche uncle (Fred Speyrer) had become the Factory Superintendent and had given him the choice of a college education or a job. People were still reeling from The Great Depression. Jobs were hard to come by. John Drasche (Walter's father) had been out of work for some time. "I'll take the job," said Walter. And so, Walter Drasche started a 49-year career working at the Steinway factory. Unfortunately, that career was interrupted in 1941 when he served as an Army Corporal, fighting mostly in the Philippine Islands and New Guinea; far, far from his family, his home and the piano factory.

Upon his successful return, he became a strong advocate for the forming Union, at which point the current President of the company (Henry Steinway) took notice and convinced Walter to come over to the company side and become a foreman. He maintained that position in the Action Department (where they manufactured the moving parts of the piano) for a good number of years. He later became foreman of the Grand Finishing Department (where they wrapped up working details on the grand pianos), at which point I had the pleasure of being one of his employees when I was learning how to tune pianos.

He was tough, but fair; understanding but unreasonable when it came to quality work and company rules. In the 1970s, he joined the Research and Development Department and had to wear a tie; a little out of place for him, yet he wore it well. While working there with Bill Steinway (Henry's son) he received a US Patent for developing a treatment for cloth that involves the movement of the piano action parts. I still have a signed book to my father from Henry Steinway. It reads: "For Walter Drasche, One of the men who made Steinway great."

To Tune or Not to Tune: This is the Answer

First of all - what is “tuning”? “Tuning” is merely an adjustment of the strings and pitch so that the piano becomes “in tune”; just like tuning any other instrument except for the fact that the tuner needs to check, correct and adjust over 250 strings and the tension from these strings measures over a ten tons!

There are many factors involved in the maintenance of pianos through tuning; some of which are: 

1) Geographical Location

2) Room Location

3) Usage

4) Condition 

5) Frequency of Tunings

6) The Person Playing it

7) The Tuner

1) In the Northeastern United States, temperature and humidity changes usually necessitate a minimum of twice per year.

2) A piano placed next to a heat source, air conditioner or open window can usually go out of tune quicker than one not so positioned.

3) Usually, the more you play, the more frequently the strings will need adjustment.

4) If a piano has loose tuning pins, has too much tension after rebuilding (not everyone knows what they are doing) or some other mechanical situation that needs attention, its ability to hold a tuning or even take to one will be lessened.

5) A piano that is tuned regularly will be prevented from going out of tune too far, need less adjustment and will therefore hold a tuning better. The more the pitch has to be raised, the faster it will drop again. 

6) Each piano owner will have different ears, different needs and different opinions on what can be tolerated before they consider another tuning. Even slight out of tune-ness makes the piano loose its beautiful harmonics and singing tone.

7) Some tuners are better than others. Some have tuned tens of thousands of pianos and have learned through experience. I have found that a great tuner, tuning by ear, is better than any tuner using a machine.

Many times I am tuning a piano in someone’s home and I see a guitar or a violin, etc. If the customer asks “How often should I tune my piano?” I often ask them how often do they tune that I other instrument. The answer is usually “Every time I pick it up.” And although it’s not feasible or economical to have your piano tuned every time you sit down to play, most people don’t have it done often enough.

To Tune or Not to Tune?