Scam Pianos Philippines
Posted on February 9th, 2018
Scam Pianos Philippines.
Scam Pianos Philippines, there were some on display when I visited Greenbelt 3 last night, there was a piano booth at the entrance of Greenbelt 3 featuring grand and upright pianos and of course, as a piano enthusiast, I right away went to the booth.
I started to play a little on a baby grand Lyric and right away I found NO SOUND WHATSOEVER in the bass strings, completely dead strings. The salesman told me, oh yes, it needs some tuning! I asked them if it was a new grand piano, and they told me YES. I told him that tuning will not solve that problem. Dead strings are dead strings, they need to be replaced. He then proceeded to ask me if I knew about pianos and admitted after I told him yes, that the strings were no good, but most people couldn’t hear it anyway! Then I gave them a business card.
The grand piano looked new, but I took a photo of the serial number (Samick made) and in my office I checked it and it turns out to be 1991, so 25 years old. They did a great job refurbishing the piano. But they are lying to me, so also to other customers I assume, about the age of the piano. The price was P650,0000 when I asked for it, which is a criminal price for a grand piano with all original parts and dead strings.
I don’t know why Philippines is not taking action against these practices, but I sure am mad on behalf of the people that buy these pianos believing the pianos are “new” or ” barely used” or whatever. I also see many pianos here in Manila, mainly Yamaha, with false serial numbers, even pianos that are not Yamaha with a Yamaha sticker on it.
Customer, please be aware of these things, ASK, ASK, ASK, don’t buy before you are convinced that what you are buying is REALLY what you are buying. I have all the proof to back up what I am stating here, come to www.pianos.ph and I will show you the pictures.
FEBRUARY 2018 NEWSLETTER
Posted on February 7th, 2018
Digital Pianos Manila
Posted on January 21st, 2018
By MANILA PIANOS, www.pianos.ph Digital Pianos Manila made by Korg, the world’s best digital piano maker
PRK digital pianos are made by Pearl River, the world’s largest piano manufacturer. Incorporating high-quality Japanese sound-generating technology and keyboard mechanism, the new PRK line offers the first Chinese digital pianos in the mid-market sector. Models are PRK 80, PRK 300 and PRK 500.
Pearl River’s Japanese-made ‘Balance Design’ wooden cabinets enhance the sound as well as offering a stunning yet compact addition to any room environment. At the heart of the PRK piano lies the digital sound and keyboard technology from one of the highest-level designers and makers of electronic music instruments.
With over 60 years of piano manufacturing expertise, Pearl River is the largest piano manufacturer in the world. The PRK digital piano line is the result of collaboration with a leading Japanese manufacturer of professional electronic musical instruments offering a serious alternative for those seeking high quality at affordable prices.
The PRK-300 keyboard is a naturally weighted hammer (NH) action which reproduces the touch and feel of an acoustic piano. The PRK-300 has 30 voices with a maximum 120 polyphony to fully experience their depth of tone using enhanced stereo amplification. With over 60 years’ experience, Pearl River has used the wood crafting skills of its piano makers to unite the sound of an acoustic piano with digital stereo sound reproduction.
The PRK-300 has a modern, sleek, angular cabinet with three integral pedals. Full keyboard cover is available in luxurious black or white satin finishes with chrome colour pedals and fittings.
Dimensions: Width 140cm, height 78cm, depth 30cm.
January 2018 newsletter
Posted on January 5th, 2018
Our October 2017 Piano and Organ newsletter
Posted on October 3rd, 2017
Professional Piano vs Piano
Posted on August 9th, 2017
Professional Piano vs Piano. Come to www.pianos.ph to experience the difference!
The teacher has said, “your son/daughter is advancing and you need to consider upgrading your piano to something better”. This begs the question, “Why do we need to upgrade? And what’s inferior about my existing piano that makes it inadequate?”
These are both valid questions. I need to go on record by saying that there is a lot of misinformation about upgrading. Parents are often told they need to upgrade without even really knowing why. In this article, we will address common issues and reasons for upgrading from one piano to a better piano.
The number one reason to upgrade your piano revolves around touch. Let’s face it; if your piano sounds bad, while that’s unfortunate, it’s less critical than inadequate touch. We’ll get to the concept of sound later but let’s first look at the idea of upgrading touch. Piano touch has to do with weight, friction, depth and dynamic response.
Touch weight refers to the resistance you feel when you depress a key on a piano. The focus of upgrading revolves primarily around the development of the student to build dexterity and feel various graduations of dynamic response. What does that mean exactly? It means that there is a certain succinct feeling of having your fingers apply a certain pressure to the keys and have the piano reply with the appropriate volume and tonal colour. The lighter the touch, in my experience, the narrower the volume range which brings about expression. The heavier the feel of the keys, the wider the expression. Too light of a feeling, although easy on the fingers, doesn’t produce strength required to play on most pianos and unless you’re a very accomplished pianist, it’s difficult to obtain a wider expression range because there is inadequate weight to the action. If a piano touch is too light, playing on any other piano will feel laborious. If the piano touch is too heavy, it can become cumbersome to play loudly or quickly. Recently I had the opportunity to sit at a concert grand with a fellow professional player and it was interesting to talk in these abstract terms and yet know exactly what the other was feeling. It takes time and experience to know what the right weight should be on a piano. When it comes to upgrading, weight of the keys is the primary consideration.
Aye, there’s the rub. Every piano requires it. Why? There are several joints in piano actions. Each joint requires precise movement. If the joints are loose, not only do they work incorrectly, but they are also prone to making noise. Incorrect friction comes from poor materials, worn parts or corrosion. With usually at least 5 bushing points per key and 88 keys, old pianos or poorly built pianos will not be consistent in touch. Most often, if you have a piano that is more than half a century old, friction will be substantially different than a newer piano. This is also a substantial reason for upgrading from one piano to another.
The depth of a piano key speaks to how far down the keys go before they hit the bottom felt. I feel that this has become less of a problem over time as key depth has become more consolidated in manufacturing. It may not sound like a lot, but less than a 1/16″ or 2 millimeters is very apparent in piano key depth. Old pianos and some early pianos had either too shallow or too deep of key dip and subsequently, the piano did not match today’s standard of touch which is generally around 10 millimeters down (about 3/8”+). Modern manufacturing has consolidated key dip and so upgrading for this reason is less critical on newer pianos than on older ones. I’ve seen various levels of key dip especially on older upright pianos.
Remember in last month’s blog we looked at the different balance points between electronic keyboard and traditional piano? Another vital concept with upgrading from one piano to another is the dynamic response created by 2 elements: the hammer shank and the key stick. Here’s the quick rundown: small pianos (shorter than 45” tall or 112cm) usually have shorter key sticks and shorter hammer shanks. By necessity, the parts are smaller to fit inside a smaller cabinet. Larger pianos and grand pianos have longer keys and longer hammer shanks. The difference this size makes is not the weight of the keys but rather the acceleration of the hammer. With shorter, smaller parts, expression is substantially inferior on a shorter piano than on a professional level piano.
In short, upgrading the touch comes from:
Weight of the keys – too light or too heavy
Friction – inadequate or too much
Depth – too shallow or too deep
Size – small pianos have miniaturized parts
These four concepts address dexterity and control on the part of the student without which it is difficult to pursue higher level playing. Upgrading is strongly encouraged if you have one or more of these areas.
The sound of a piano is also one to consider, although I deem it less of a necessity than touch. We discussed the concept of touch, but tone is the other area to consider when upgrading.
This voice of the piano is constantly communicating with every key stroke and in reality, we adjust our playing to match the feedback the piano is giving to us. In essence, we play to the piano. We alter the way we play to match the response we hear from the instrument. But what if the piano is a poor communicator? What if the sound of the piano is brassy and shrill? What if it sounds mushy or muted? You then compensate in your playing. And that’s a problem. If the tool you are using limits this expression, rather than changing your piano technique, it would be better to upgrade the piano.
There’s a magic line in musical expression that I like to call crossover. When playing quietly, I really enjoy a felty tone. I’m not only talking about quiet volume level but a warm timbre as well. When the music denotes small and intimate feeling, I like expressing that with a piano that can achieve those results. As I turn up the heat, when I play louder, I want the sound to cross over into a more strident and bold sound. This can only happen with good quality piano hammers which have a certain elasticity to change tone. With time, however, hammers lose that resilience and become expressionless. You can change volume, yes, but that magic crossover is worth considering. A piano that matches the expression you envision is the icing to the cake. While touch produces the foundational elements for finger dexterity and control, piano tone gives opportunity to express creatively. It’s with the combined effect of both touch and tone that teachers recognize that upgrading your existing instrument is necessary.
I recently changed the tires on my vehicle. Being the curious sort, I started to discuss the wear of tires with the guy doing the installation. There was a massive pile of tires ready to be recycled and it seemed odd to me that many of them looked in good condition. I queried him as we were waiting about what he looks for. “See this here? These tires have a slight arc. They’re cupped – you’ll hear that on the highway. These ones, the walls have cracks. That’s a safety issue. These ones, too close to the tread line here. See this one? There’s a slight bulge.”
To the untrained eye, without close inspection and shown what to look for, the tires all appeared the same. It’s only under more careful examination that you begin to understand the subtleties, which can make all the difference in the world.
As it relates to pianos, it’s the details and the refinement that in both touch and tone that are needed as the years of experience require it. Here are some questions, some of the details that might help determine whether an upgrade is in order:
1. Does your piano feel loose or heavy?
2. Does it play evenly on every key?
3. Do the keys play similarly from the front of the key to the back?
4. Is the experience of playing on other pianos vastly different?
5. Do the keys make noise, not work or otherwise slow to respond?
6. Is the tone of the piano too bright or mellow?
7. Is the sound “thunky”?
8. Is there very little crossover from soft to loud?
If your answer is yes to any of these questions, you may need to consider upgrading. HOWEVER, before you do that, contact your local piano technician. There are times when piano adjustments can be made, and parts can be transformed to improve the quality of your piano playing experience. But ask the technician directly, “Is this piano suitable for advanced playing?”
… which leads me to one final thought. If you enjoy your piano, if you’re not striving for performance at Carnegie Hall any time soon, if it’s the piano you have sentimental attachment to… keep it. Upgrading an instrument is for those students who are pushing towards professionalism and need to feel every graduation of touch and tone under their fingers tips. Upgrading is not always necessary if you simply enjoy making music with the piano you already have.
Manila Pianos News
Posted on June 26th, 2017
Posted on April 17th, 2017
Piano Voicing, This is the manipulation of the hammers to make the piano sound the way you like it. What kind of tone do you wish to have coming from your piano? Beauty, after all, is in the eye of the beholder. Some wish for a power piano – strong and bright. Others want soft and felty. Personally, I look for versatility in a piano. I prefer pianos to be intimate and warm at softer dynamic levels and have a crossover where they can shift into more strident sounds when playing with force. Pianos that are icy cold or brittle at softer volumes I find somehow less satisfying and difficult to express emotionally. Conversely, playing powerful music with a dull thud also feels like it is somehow lacking?
Let’s be clear, however that piano voicing has limitations. I’ve often said that 50% of the tone of a piano is inherent to the instrument. It’s the wood, the soundboard, the bridges, it’s the design, the scale, the placement and thickness of the soundboard, the amount of ribs, back posts, rim construction etc. But it’s the action how it translates our musical intention into sound – all of these elements make up the piano. These I would mainly consider non-negotiable. Yes you can start down the path of reconstructing parts but this is more major surgery. The other 50% can be altered somewhat depending on the quality of the piano and the results vary drastically. Piano hammers also have a shelf life as well. Really old and “dead” sounding hammers fibers, ones that are really grooved, hardened or lifeless sounding need replacement.
Needling of the hammers:
Most pianos with time and playing become more brittle and harsh. The majority of the requests for voicing involve making pianos softer with fuller body. When I was young, I sought the brassy power piano. As I age, I look for tonal color more akin to “autumn leaves” colorful, warm and beautiful. We get used to the piano we play and don’t consider that alterations could make the experience more enjoyable. With harsher tones, piano hammers can be “needled” in various locations to achieve those results. A needling tool simply has needles that get inserted into the piano hammer. Since piano hammers consist of felt stretched and glued around a wooden hammer molding, the insertion of the needle “fluffs” hammer felt, making it not so compacted. In other areas of the hammer head, the needle acts to give greater body or sustain. Most piano technicians know how to needle to create the desired effect.
Solutions for both hardening and softening also exist. A hardener coats the hammer and creates more brilliance in tone. Softeners penetrate and relax fibers and create softer sounds. While there are those who disagree with putting anything on the hammers, I believe that there is a place for more drastic alterations of hammers that have desirable end results. The danger is that solutions can be added to a hammer but cannot be extracted. I’ve actually played pianos rendered unplayable due to excessive chemical applications. The recourse really is only to change the hammers. But I’ve also played many pianos that have been strategically voiced with solutions for incredible results. The word here is caution and work with a piano technician you trust. Ideally, I like the felt of the hammer to speak. If you’re looking for a certain sound, sometimes changing the hammer is a better way than to try and artificially transform a piano into something it wasn’t intended to be.
Pianos are dynamic in nature. They are constantly changing. Voicing is not a do-once application but rather a process with time and maintenance. It involves keeping the piano at its best throughout its life-span. Have you lost the love of your piano? Sometimes pianos simply need to be voiced to bring it back to more of the sound when you first acquired it. You’ll be amazed at the results. Piano maintenance is so much more than tuning. Once you realize the possibilities, you’ll be amazed at how musical and beautiful your piano can be.
Note; There are many different qualities and prices of hammers. Abel and Renner are the best but also most expensive. Prices vary from $ 10 to $ 800 for a set, but the difference in sound is also huge, as you can imagine.
Piano Tuning Manila
Posted on April 1st, 2017
Piano Tuning Manila
Piano Tuning Manila, your piano is (or should be) an investment that appreciates in value over the years if treated well. To ensure its performance over its lifetime, to preserve your instrument and to avoid costly repairs in the future, it is important to have your piano serviced regularly by a qualified professional.
Piano tuning is the act of making adjustments to the tensions of the strings of a piano to properly align the intervals between their tones so that the instrument is in tune. The meaning of the term in tune in the context of piano tuning is not simply a particular fixed set of pitches.
Prices of a piano tuning in Manila vary but are usually between P2000 for a tuner and P6000 for a good technician. Compare: you can pay P2000 when you bring in your car for an oil change only, or P6000 for an engine check and small adjustments so the engine performs without break downs in the next while. It’s your choice.
Remember: a tuner might not be a technician, these are two different people with different educations.
A tuner tunes, meaning he pulls the strings only, a technician also knows about the inside of the piano. Many people that call themselves technicians are not. Make sure you deal with a qualified piano tuner or technician, ask for their certification, not with someone that does not want to work for minimum wage and thinks this is a good way of making extra money. A grand piano tuning usualy cost a little more.
WARNING: If a non qualified tuner or technician touches a piano we sold, the warranty is immediately null and void. There are many unqualified technicians out there.
HOW OFTEN SHOULD I HAVE MY PIANO TUNED?
If the piano has been well maintained the basic rule-of-thumb is at least once a year. Twice a year would be better. There are a number of factors that can contribute to the piano going out of tune, even if it isn’t played very often. Consider that the piano is primarily made of wood, and that at it’s simplest level the sound is produced by striking the strings with a hammer (no, not a carpenters hammer, the felt covered hammer that moves toward the strings when you press the keys). Changes in humidity can cause the wood to swell (too much moisture) and shrink (too little moisture). The combination of swelling and shrinking goes a long way toward knocking the piano out of tune, and can cause other issues as well.
Changes in temperature can also effect the tuning stability, but generally not as much as the changes in humidity. In fact many of the high end piano manufacturers write into their warranties that you must maintain the humidity in the pianos environment within certain parameters (more on options for accomplishing this later) or you could void your warranty.
So CALL US AT 02 801.3431 x 401 to service your instrument regularly, and pay attention if he/she recommends taking steps to balance the climate in and around the piano. The piano has thousands of finely regulated moving parts and yet is designed to support literally tons of tension from those roughly 230 strings. Take good care of it and you should experience many years of enjoyment.
Posted on March 24th, 2017
piano yamaha, we at Manila Pianos Inc. have many Yamaha U1, U2,U3 and other Yamaha and Kawai pianos for sale. Watch out for the ones for sale with false serial numbers, there are many, they have been modified to look younger, mostly Yamaha pianos for the 1950s and 1960s that have been furnished with a 5M or 6M serial number and made to look good by respraying the cabinet. We have seen almost 80% of all Yamahas we can trade in liken this.
You can see this by looking at the color of the gold paint closely around the serial number, if you look closely you will see that the gold paint is a slightly different color because the original gold paint was removed and new gold paint was sprayed in that square and then they put a new serial number there. Also, when you cannot find any serial number on all the other places it should be because it was painted over or removed, you know. You can look here to find the serial number(s).
There is nothing wrong with an older piano, you must know that they are mostly better built than the newer ones, parts as well as labor is better in 1980-2000 Yamaha’s but the pianos can often not be sold as is because they need many parts replaced. We always do this work and therefore the pianos cost more than the same pianos where parts are not replaced. (hammers, strings, pins and velts must often be replaced, if not you will see rust and some ‘dead’ string sounds)
On our website you will find more very helpful tips.