Yamaha Piano Restringing

Loose tuning pins are usually the first sign that restringing should be considered for a Yamaha, although in some cases the tone may seriously degenerate before loose pins occur. Strings begin to lose their elasticity and best tone quality after about twenty five years or so, although the deterioration can be so gradual that the tone is acceptable for several more years. Only when the piano is restrung is one made aware of the difference between the new and the old strings.

Only on rare occasions will one re pin with oversized pins without restringing work, since under normal conditions pins stay tight for longer than twenty years. It may be possible and advisable to delay restringing a few years by driving the pins slightly further into the pin block, but generally when the pins are loose it is time to restring. The PTG (Piano Technicians Guild) now is making recommendations to the tuners in the field to apply cyanoacrylate glue (Krazy Glue) to the pin block to help tighten the loose Pins.

WE RECOMMEND NEVER TO DO THIS BASTARDIZATION TO YOUR YAMAHA PIANO (IT WILL DESTROY THE PIN BLOCK!)

When restringing there is always the decision as to whether to use the old pin block or install a new one. There are five tuning pin sizes ranging from #2 to #6, OTT that the old block can be used with over-sized pins if it can be determined that it is sound. If a chemical pin tightened has been used, or if there is any doubt about the condition of the present block, it is advisable to install a new one. However, the successful installation of a new pin block requires much skill and experience on the part of the re-builder. The fit must be exact, and the holes drilled evenly at just the right angle 7 degrees to insure an even, tight pin throughout.

The use of a chemical to tighten loose pins by swelling the wood in the pin block is often successful, but somewhat controversial. Its use may be acceptable on an inexpensive piano to give it a few more years of life when the quality of the instrument hardly justifies the cost of restringing, but to use it on a quality piano is questionable. Chemicals can so destroy the wood fibers around the tuning pins that it is necessary to replace the pin block. Since the strings have lost much of their life by the time the tuning pins become loose, it hardly seems advisable to risk ruining the pin block just to use the dead strings for a few more years. New strings will improve the tone of the piano immensely nearly by 85%

Some may feel that frequent tunings may lead to premature loosening of the pins. This could be true if a poor tuning technique is used which bends the pins or involves several large up and down motions for tuning each pin. But it is not a significant factor when a correct tuning hammer technique is used that involves one or two tiny movements for tuning each pin. A piano used in concert work may be tuned more times in one year than the ordinary piano tuned regularly would be tuned in fifty years, yet without showing significant change in the tightness of the pins. In addition to poor tuning hammer technique the other factor that leads to premature loose tuning pins is repeated drastic humidity changes from season to season.

Full Action Rebuild and Restringing. New hammers Or new hammers and shanks with reconditioned butts (Possibly on new hammer flanges) Or new hammers, shanks and butts If brass butt flanges are present remove the rail and anneal the rail and replace all brass butt Replace hammer springs plates Replace hammer rail felt Replace hammer springs rail felt

Rework Whippen's There are various variations on this theme Clean and graphite jacks Replace jack springs Re pin all whippen and sticker flanges Perhaps replace flanges Reactivate glue on jack saddles or re glue saddles

Dampers Replace damper lever felt Remove and re felt damper lever felt Replace damper springs Re pin damper flanges or replace flanges Restring Rework bridges Perchance replace bass bridge Restring Regulation Change key pins or buff Detail of spacing and timing.

Yamaha Piano Reconditioning

There is no agreement among technicians as to what constitutes a
reconditioning as opposed to a rebuilding. Reconditioning is a less
thorough process, using a minimum of new parts and working largely with
original parts, whereas rebuilding involves using whatever new parts
are necessary to make the Yamaha piano function at its maximum potential.

However, the dividing line between these two procedures is not clearly
defined. In some instances reconditioning can involve using several
new parts; seldom does a rebuilding include using all new parts.

A reconditioning is called for when a piano has been allowed to go
for several years without regular piano service (tuning and annual
maintenance). There is still enough hammer felt left to file, and
the piano is tunable. The piano is thoroughly cleaned, the action
is tightened and freed of lost motion and regulated, the hammers are
reshaped, fitted to the strings and voiced. The pedals and dampers are
adjusted, and whatever else is necessary is done to restore the piano
to its best playing condition. The action centers may be so worn that
they need to be re-pinned or even re-bushed. If the existing parts are
not too worn, and if the work is done thoroughly, the piano may give
several years of satisfactory service before needing major attention
again.

Rebuilding can refer to most any operation, ranging from just adding
new hammers to replacing almost everything but the original piano
shell. It can include restringing and new tuning pins, a new pinblock,
a new soundboard or repairing the old one, new hammers, new hammer
shanks, new whippens, new white key coverings ('Ivorians'), new black
keys, new key buttons, new key bushings, new back checks, all action
felt replaced, new damper felt, pedal assembly overhauled, plate,
soundboard, the entire piano refinished, hardware re-plated and
whatever else may be necessary to make the piano look, sound, and
perform like a new instrument.

Just how much should be replaced in a rebuilding is the difficult
question. Should a minimum of replacements be made using as many of
the original parts as possible, or should everything be replaced so
that it is practically a new piano, or should it be something between
these two extremes? The cost, the condition of the existing parts,
and the quality of the new parts available will all be important
factors in the decision.

Generally, the more thorough the rebuilding the greater the cost,
and the longer one can expect trouble-free performance. There will be
parts that must be replaced, and other parts whose replacement will be
optional. If the parts are in good condition and seem to have many
years of wear left it would seem advisable not to replace them. It is
important when comparing estimates to also compare the amount of work
needed, including the number and quality of parts being replaced.

Pianos are precision engineered musical instruments consisting of as
many as 9,000 parts. There are no shortcuts to rebuilding a piano
properly. No matter how regularly and expertly a piano is serviced,
there will come a time when it can no longer function satisfactorily
without major repairs. It is necessary to recondition or rebuild when
there is no more felt left on the hammers to file and voice, or the
tuning pins are so loose that the piano can no longer be tuned.

Probably more important than what is to be done in a rebuilding is
who is to do the rebuilding. Just as in the other phase of piano
technology there is a vast difference in the knowledge and workmanship
of those who do rebuilding. It can not be assumed that a re-builder
can execute each operation in a rebuilding process as skillfully as it
was originally done in the factory where the worker does one operation
over and over again day after day. It is generally considered that a
good re-builder can at best restore the piano to 90% of its original
quality, although one or two re-builders do have the reputation of
doing work superior to that done in the factory.

Experience is an important factor in rebuilding. It is highly
unlikely that a regular technician who only rebuilds one or two
pianos a year will have the same expertise as one whose main work is
rebuilding. It does not necessarily follow that one who is a fine
tuner, very conscientious and highly trustworthy, is also a good
re-builder.

The results of a rebuilding are somewhat unpredictable, and often there
is little recourse if it does not turn out satisfactory. Sometimes the
only solution to a poor rebuilding is to do the complete job over again,
which can prove very costly. It is important to know your re-builder,
and to know the quality of work he does. References are always and
excellent way of checking out his work; also his reputation in the
community, possibly by checking with the Better Business Bureau.

When a Yamaha piano is completely rebuilt it may look, sound, and feel like
a new piano and can be expected to give many years of quality performance
if properly serviced. A discussion of the various phases of rebuilding
is designed to give help in coping with the many decisions necessary
regarding rebuilding.