I understand Stu's frustration with customers not telling the whole truth about the move. I used to move pianos a couple days a week when I was younger and just getting started in the shop. I learned that "1 step" means 2-3 steps, "2 steps" means 3-4, and "3 steps" means bring out the 14 foot ramp. As a piano technician, a big chunk of my yearly income is thanks to movers who damage polyester pianos. I travel all over the place to do repairs. Customers' homes, piano stores, piano moving companies/warehouses, household moving companies/warehouses, restoration companies, etc. I've even done repairs literally in the back of the truck. Not a lot of people out there want to touch that stuff. I say the same line every time, "They sure did a 'bang-up' job of moving your piano!"
I think your conversion rate of customer stair estimates is very bang on! ;) That is awesome that you possess the skill to do polyester finish repairs. There is a real art to doing that type of work and ensuring that the finish is seamless. I am sure many piano owners (and retailers and moving companies) really appreciate the work that you do!
I’ve been a piano technician for over 15 years and always seek out movers that do not pivot a grand piano on it’s pedal lyre. Doing so can damage the pedal assembly and possibly the bottom of the piano. Many professional piano movers use a device in place of the lyre that allows them to rock the piano into the vertical position. This distributes the weight over a wider area avoiding any potential damage to the bottom of the piano and obviously the lyre. Also, keep your piano out of direct sunlight. This will avoid daily temperature shifts that cause tuning instability and internal parts to warp. It also avoids damaging the case.
There’s only two trustworthy piano movers in this major Canadian city. One of them I shared building space with when I had my piano teaching studio. I learned a lot about the techniques they use in a move. So when I moved a few years ago I wouldn’t let the van lines touch my grand. I made them leave the piano for the experts to come in behind them.
Glen Gould’s beloved Steinway was dropped at a venue loading dock prior to a performance thus cracking the plate. He was beyond heartbroken to say the least.
A number of years ago while driving up a long straight hill out in the country about 3/4 of the way up was a destroyed upright piano in the ditch. The path it made from the blacktop thru the grass down the embankment into the ditch made me think it escaped a pickup truck driven by the " Good Ole Boys" moving service. The case was broken open exposing everything. I don't think is was dumped but a piano moving experience gone wrong.
very recently had a Steinway L move out of my home to my daughter's home in another state. 54 steps from the top to street level. There were some turns to be made that seemed "impossible" but these experts found a way. I was transparent and explained that when the piano was moved up those 3 staircases it was not an easy move. The company that moved it out came BEFORE the move. As the boss walked up the stairs a head me, I noticed he was counting. When we got to the top I said....54 steps, right? He agreed and laughed and said customers often "mis-calculated." At the pre-visit he took measurements in any area on the trek that seemed problematic.
That is awesome to hear! Some piano movers are absolute pros and are able to make even the most difficult of moves happen safely. I'm glad to hear that it all worked out! :)
I'd probably expect a moving company to do an in-person site inspection of both ends of the move. On another note, water starts expanding when dropping below +4C, not -5. Otherwise ice at -2 C would sink in liquid water and it doesn't. Having said that, the timber itself probably acts as an insulator so that the moisture within might remain above 4C when the outside air temp is above -5.
Thanks so much for tuning in and sharing your thoughts! :) Most reputable moving companies usually offer on-site inspections for any difficult or "tight fit" moves. However, there is usually an additional fee attached to doing so.
I think Stu's advice "take notes" is worth taking literally. We may not be moving a piano today, but in the future, the info contained here may be vital advice for us & / or our friends. It's very sad about the Estonia, but let's get some real good out of that: if we all properly listen, it may end up being overall a safer world for pianos & people than if it had not happened. Thanks for the advice, Stu. It is much appreciated.
@@MERCEDES-BENZS600GUARD_V12 No, I think it was no longer playable at all ! You may be getting confused with another clip of playing. I think it was a complete write-off, impossible to repair. (I assumed that any attempt to repair it would be tantamount to re-making the piano, which would presumably be more time-consuming & expensive than making 1 normally.) At least, that was my impression, though I will at some point return to see it again to make my notes.
@@The-Organised-Pianist I still can't emajin how could it have happened. What does the piano look like? And what was that short clip of a piano being played in the intro?🎹🎶
@@MERCEDES-BENZS600GUARD_V12 Think it's probably from the W. Hoffmann Vision V2 Upright Piano Playing Demo? Different piano, just a clip to transition between sections of this video, I think.
My new Essex was damaged in transit from the showroom to my home. The movers did not pad their straps correctly resulting in a marred finish. But, the shop sent out an excellent repairman and all is well now. Lesson: Be sure to examine your newly delivered instrument in extreme detail. If I had not done so, then the damage might have been deemed MY fault!! I gave the retailer pictures and measurements from the driveway, in the door, up the stairs, and finally into my studio. Yes, they charged more, but my piano was worth the extra cost to have it placed where I wanted it.
I tune for the local opera company, and about 10 or so years ago the facilities manager sent a 7’ Kawai grand off the stage. The force of the landing pulled the screws holding the plate down on the rim a few threads. They had it sitting on its legs when I went in to look at it, and the dampers were pulled up to where the underlevers were pressed against their upstop rail. It was an 800 lb. Paperweight. The keyframe was cracked and split apart all over the place.
That is awful to hear! It is gut wrenching to hear some of these tales about amazing instruments suffering such catastrophic fates. Such is life though I suppose. Thanks for sharing and all the best! :)
I know this is not relevant to this video, but I wanted to share my experience with Garritan CFX (full version) vs. Yamaha DGX-670 CFX piano patch. Which sounds better? First of all, for a proper comparison, you need to choose the "Player" microphone perspective in the Garritan CFX and set it to "Player Position". The reason for this is because the Garritan CFX has other microphone perspectives, such as "Classic", which has tons of reverb and it is a distant sample, which would be appropriate to produce an album, but not to play it, as the piano sounds far away from you. The DGX-670, on the other hand, has a close, dry sample. But since it has a modeling engine, you can add and modify the sample, adding all sorts of effects, including reverb. I also tweaked the 5-band built-in equalizer (much better than the basic 3-band equalizers most digital pianos have, even expensive models). This is not the first time I do this test. In fact, I did the same test with my previous piano, the Yamaha DGX-660, and the result is always the same: the DGX piano samples are superior. I also sent a friend many samples without revealing the sound source, she has audiophile speaker towers and the results, multiple times in separate times, was always the same: the DGX piano samples were better. But why? In a nutshell: distance. Let me explain in more detail: when you record a person singing, you put the microphone close to her mouth, so you can record all the details, even the lips smacking. If you put the microphone far away, even if you have tons of gigabytes in the sample, the recording contains less details because it was captured too far away. The Garritan CFX is a large 122 BG piano sample, yet it sounds too far away from the player, even in the "Player" position. The result is a sample that sounds thinner and muddier than the DGX samples, particularly after you optimize the DGX piano settings through its modeling engine. No amount of tweaking in the Garritan sample gives the same results. This means the Garritan cannot substitute the DGX-670 CFX, or even the DGX-660 "Pop Grand" piano samples for live playing. Not even close. I finally had the chance to play the new Kawai KDP75 yesterday. I played it repeatedly side by side against the Yamaha YDP184, Roland F701, Roland FP90X, Yamaha P45, Yamaha P125, and Yamaha P515. I played them only with studio headphones. One thing is clear: the KDP75 has the same type of sound of the Kawai CN29 and CA49 (particularly the CN29), which I played last week. It is a sound that I would describe as lacking definition, sort of a muddy sound. It is as if you were listening to a stereo with the tweeter blown up. There is no refinement in the sample. Attempts to tweak it through the piano technician doesn't help. The sample doesn't have dynamic levels, it is pretty much similar to the Yamaha P45, but instead of being bright like the P45, it is is muffled and muddy. I pressed the keys from softest to hardest and the sample didn't change in character, just volume. Because of the intrinsic muddiness of the sample, the sensation is a bit like playing the Garritan CFX in "Classic" perspective, but without the richness of the Garritan sample. It is a sort of washed out sample, with no color, just a soft, muddy, distant sound. In a way, it reminded me to the Casio PX-S1100 sample, but at least the Casio has audible dynamic changes when you press from soft to hard. So, I would say that the Casio PX-S1100 has more nuances than the Kawai KDP75. However, the Casio has a less convincing piano sound in upper registers... I would say the Yamaha P45 and Kawai KDP75 have low dynamic changes compared to the Casio PX-S1100, whereas the Kawai always plays muddy without changing the timbre. This doesn't necessarily mean the Casio has the better sample, I would say it has better simulation of dynamic changes. The Roland F701 had better dynamic change than the Kawai KDP75, which could be useful in recording, and also it allows you to express yourself with more nuances, although the piano sample may not be the most realistic. That PHA-4 action in the Roland is stompy, not sure why so many people like it. The Kawai action is lighter than the Yamaha YDP184. I prefer the action (GH3) and tone of the Yamaha YDP184, which sounds more like a grand. The KDP75 has a piano action that reminds me a bit of the Casio CT-S410, which looks cute, but it doesn't look much like a real piano action. I am talking about the texture of the keys, with a "soft" feel of the keys in a nacre white color. Most lower range Kawai acoustic pianos have shiny keys (K200, K300, GL-10), and even better models (like the GX-2) has satin keys (which is still shiny, not nacre-style like the KDP75). The Roland FP90X has a better sample than the F701, and far more decent action than the PHA-4. Too cushy and sluggish, though (PHA-50): real piano actions are noisy and faster. Kawai has put the SK-EX sample in many of their digital pianos, but it lacks color and dynamic changes, at least in several lower-range models. I played several acoustic Kawai pianos last week, and even a small piano like the GL-30 sounds incredibly more colorful than that SK-EX sample. I also played the ES920 about a month ago, and it was the same thing: washed out sample. I did play the CA79 about 3 months ago, but now I don't remember if it was colorful enough. I noticed that Yamaha and Roland have "close" mic piano samples (particularly the FP90X), whereas Kawai has "distant" mic piano samples (or it sounds that way for being so muddy?). This means that, for live playing, I would go with Yamaha or Roland. I wonder if Kawai puts a different SK-EX sample in their stage pianos, like the MP7SE. I owned the MP6 before and it sounded close to me... have they changed that? I also played the MP11SE a few months ago, but I don't remember enough about this "distance" issue. How close the piano sample is affects the playability of the piano: you want to feel connected to the piano, not like playing it by control remote, as if it was 5 meters away from you.
Forgive me for this unrelated question, but I would like to know if there's a uge difference in size between the Yamaha U1X's soundboard and the Yamaha C2x's soundboard? Vinheteiro's piano comparison is one of the reason why I ask this question🎹🎶
@@MERCEDES-BENZS600GUARD_V12 Hi Benz, that's a very interesting question. I don't know, but I could try playing in the store a 48" upright and a 5'8" or closer size grand piano to see if there is a great difference in the bass response, which is what mostly changes when you go to a larger piano size. 🎸
When moving your piano to a different country or region, you need to consider the climate change. I bought a Bechstein grand piano from the early 1900 in Johannesburg, South Africa. I was very happy with it for many years. After moving to Auckland, New Zealand the sound deteriorated and it needed extensive restoration, and - in my opinion - it never sounded like it sounded in the dry Johannesburg climate, even after the very expensive repair. Also, we needed a crane to lift it in and out of the second floor, from a balcony.
I don't get why people are trying to save money on moving a piano even if it's a free piano. Go digital if you want to skip that fee. Otherwise, put yourself in the shoes of the mover. There's too much risk of injury, to the movers and to the piano 😄
Great video but I did not even need it to have already made up my mind that acoustic piano, no matter how desirable, in not in my future. It is in reality completely impractical (and frankly impossible to properly enjoy) in many realistic city living conditions. Sad but true.
Do your research before you post. The wrecked Bosendorfer was a model 275, not an Imperial. All the more tragic, as insurance could have gotten another 290 Imperial, but the 275 (Bosendorfer's most well-balanced design, IMHO) has been phased out of production, so it will be much harder to replace.
I understand Stu's frustration with customers not telling the whole truth about the move. I used to move pianos a couple days a week when I was younger and just getting started in the shop. I learned that "1 step" means 2-3 steps, "2 steps" means 3-4, and "3 steps" means bring out the 14 foot ramp. As a piano technician, a big chunk of my yearly income is thanks to movers who damage polyester pianos. I travel all over the place to do repairs. Customers' homes, piano stores, piano moving companies/warehouses, household moving companies/warehouses, restoration companies, etc. I've even done repairs literally in the back of the truck. Not a lot of people out there want to touch that stuff. I say the same line every time, "They sure did a 'bang-up' job of moving your piano!"
I think your conversion rate of customer stair estimates is very bang on! ;)
That is awesome that you possess the skill to do polyester finish repairs. There is a real art to doing that type of work and ensuring that the finish is seamless. I am sure many piano owners (and retailers and moving companies) really appreciate the work that you do!
I’ve been a piano technician for over 15 years and always seek out movers that do not pivot a grand piano on it’s pedal lyre. Doing so can damage the pedal assembly and possibly the bottom of the piano. Many professional piano movers use a device in place of the lyre that allows them to rock the piano into the vertical position. This distributes the weight over a wider area avoiding any potential damage to the bottom of the piano and obviously the lyre. Also, keep your piano out of direct sunlight. This will avoid daily temperature shifts that cause tuning instability and internal parts to warp. It also avoids damaging the case.
This video is perfect timing, I'm having a Hoffmann T128 delivered next week! Thanks Stu & co!
Oh man seeing that piano makes me want to cry. What a sad story, the world needs more pianos.
A very thorough and helpful explanation!
Extremely helpful video! It’s always a challenge to find clear advice on the topic of piano moving, thanks for this video.
I agree. I tried to write a more useful comment than my current 1 but it didn't post.
@@The-Organised-Pianist hmmm I wonder why🎹🎶
Disappearing comments plague me right across TH-cam. Thanks Benz!
Very practical, well-presented video. Thank you👏👍.
There’s only two trustworthy piano movers in this major Canadian city. One of them I shared building space with when I had my piano teaching studio. I learned a lot about the techniques they use in a move. So when I moved a few years ago I wouldn’t let the van lines touch my grand. I made them leave the piano for the experts to come in behind them.
Great information Stu! Is there more of the story behind the destroyed Estonia that you can share?
Watch this even if you're not moving a piano! I had no idea the shiny finish on pianos can crack if subjected to anything below -5 C (23 F) degrees.
Bang on Stu. Such important considerations.
Best suggestion I ever received: Buy the best piano you can afford, set it in a field, build your dream home around it, and never move.
Thank you Stu 🙂
Glen Gould’s beloved Steinway was dropped at a venue loading dock prior to a performance thus cracking the plate. He was beyond heartbroken to say the least.
Twice! The sound of a dropped piano...
OMG! One of the most expensive sounds ;-)
A number of years ago while driving up a long straight hill out in the country about 3/4 of the way up was a destroyed upright piano in the ditch. The path it made from the blacktop thru the grass down the embankment into the ditch made me think it escaped a pickup truck driven by the " Good Ole Boys" moving service. The case was broken open exposing everything. I don't think is was dumped but a piano moving experience gone wrong.
Excellent advice for all piano moves.....
Thank you! We appreciate that. :)
very recently had a Steinway L move out of my home to my daughter's home in another state. 54 steps from the top to street level. There were some turns to be made that seemed "impossible"
but these experts found a way. I was transparent and explained that when the piano was moved up those 3 staircases it was not an easy move. The company that moved it out came BEFORE the move. As the boss walked up the stairs a head me, I noticed he was counting. When we got to the top I said....54 steps, right? He agreed and laughed and said customers often "mis-calculated." At the pre-visit he took measurements in any area on the trek that seemed problematic.
That is awesome to hear! Some piano movers are absolute pros and are able to make even the most difficult of moves happen safely. I'm glad to hear that it all worked out! :)
I'd probably expect a moving company to do an in-person site inspection of both ends of the move.
On another note, water starts expanding when dropping below +4C, not -5. Otherwise ice at -2 C would sink in liquid water and it doesn't. Having said that, the timber itself probably acts as an insulator so that the moisture within might remain above 4C when the outside air temp is above -5.
Thanks so much for tuning in and sharing your thoughts! :)
Most reputable moving companies usually offer on-site inspections for any difficult or "tight fit" moves. However, there is usually an additional fee attached to doing so.
I think Stu's advice "take notes" is worth taking literally. We may not be moving a piano today, but in the future, the info contained here may be vital advice for us & / or our friends. It's very sad about the Estonia, but let's get some real good out of that: if we all properly listen, it may end up being overall a safer world for pianos & people than if it had not happened. Thanks for the advice, Stu. It is much appreciated.
Atleast it was still playable. Can it still be fixed?🎹🎶
@@MERCEDES-BENZS600GUARD_V12 No, I think it was no longer playable at all ! You may be getting confused with another clip of playing. I think it was a complete write-off, impossible to repair. (I assumed that any attempt to repair it would be tantamount to re-making the piano, which would presumably be more time-consuming & expensive than making 1 normally.) At least, that was my impression, though I will at some point return to see it again to make my notes.
@@The-Organised-Pianist I still can't emajin how could it have happened. What does the piano look like? And what was that short clip of a piano being played in the intro?🎹🎶
@@The-Organised-Pianist heard a short clip of a piano being played around 1:18🎹🎶
@@MERCEDES-BENZS600GUARD_V12 Think it's probably from the W. Hoffmann Vision V2 Upright Piano Playing Demo? Different piano, just a clip to transition between sections of this video, I think.
My new Essex was damaged in transit from the showroom to my home. The movers did not pad their straps correctly resulting in a marred finish. But, the shop sent out an excellent repairman and all is well now. Lesson: Be sure to examine your newly delivered instrument in extreme detail. If I had not done so, then the damage might have been deemed MY fault!! I gave the retailer pictures and measurements from the driveway, in the door, up the stairs, and finally into my studio. Yes, they charged more, but my piano was worth the extra cost to have it placed where I wanted it.
I tune for the local opera company, and about 10 or so years ago the facilities manager sent a 7’ Kawai grand off the stage. The force of the landing pulled the screws holding the plate down on the rim a few threads. They had it sitting on its legs when I went in to look at it, and the dampers were pulled up to where the underlevers were pressed against their upstop rail. It was an 800 lb. Paperweight. The keyframe was cracked and split apart all over the place.
That is awful to hear! It is gut wrenching to hear some of these tales about amazing instruments suffering such catastrophic fates. Such is life though I suppose. Thanks for sharing and all the best! :)
I know this is not relevant to this video, but I wanted to share my experience with Garritan CFX (full version) vs. Yamaha DGX-670 CFX piano patch. Which sounds better? First of all, for a proper comparison, you need to choose the "Player" microphone perspective in the Garritan CFX and set it to "Player Position". The reason for this is because the Garritan CFX has other microphone perspectives, such as "Classic", which has tons of reverb and it is a distant sample, which would be appropriate to produce an album, but not to play it, as the piano sounds far away from you. The DGX-670, on the other hand, has a close, dry sample. But since it has a modeling engine, you can add and modify the sample, adding all sorts of effects, including reverb. I also tweaked the 5-band built-in equalizer (much better than the basic 3-band equalizers most digital pianos have, even expensive models).
This is not the first time I do this test. In fact, I did the same test with my previous piano, the Yamaha DGX-660, and the result is always the same: the DGX piano samples are superior. I also sent a friend many samples without revealing the sound source, she has audiophile speaker towers and the results, multiple times in separate times, was always the same: the DGX piano samples were better.
But why? In a nutshell: distance.
Let me explain in more detail: when you record a person singing, you put the microphone close to her mouth, so you can record all the details, even the lips smacking. If you put the microphone far away, even if you have tons of gigabytes in the sample, the recording contains less details because it was captured too far away.
The Garritan CFX is a large 122 BG piano sample, yet it sounds too far away from the player, even in the "Player" position. The result is a sample that sounds thinner and muddier than the DGX samples, particularly after you optimize the DGX piano settings through its modeling engine. No amount of tweaking in the Garritan sample gives the same results.
This means the Garritan cannot substitute the DGX-670 CFX, or even the DGX-660 "Pop Grand" piano samples for live playing. Not even close.
I finally had the chance to play the new Kawai KDP75 yesterday. I played it repeatedly side by side against the Yamaha YDP184, Roland F701, Roland FP90X, Yamaha P45, Yamaha P125, and Yamaha P515. I played them only with studio headphones.
One thing is clear: the KDP75 has the same type of sound of the Kawai CN29 and CA49 (particularly the CN29), which I played last week. It is a sound that I would describe as lacking definition, sort of a muddy sound. It is as if you were listening to a stereo with the tweeter blown up. There is no refinement in the sample. Attempts to tweak it through the piano technician doesn't help. The sample doesn't have dynamic levels, it is pretty much similar to the Yamaha P45, but instead of being bright like the P45, it is is muffled and muddy. I pressed the keys from softest to hardest and the sample didn't change in character, just volume. Because of the intrinsic muddiness of the sample, the sensation is a bit like playing the Garritan CFX in "Classic" perspective, but without the richness of the Garritan sample. It is a sort of washed out sample, with no color, just a soft, muddy, distant sound.
In a way, it reminded me to the Casio PX-S1100 sample, but at least the Casio has audible dynamic changes when you press from soft to hard. So, I would say that the Casio PX-S1100 has more nuances than the Kawai KDP75. However, the Casio has a less convincing piano sound in upper registers... I would say the Yamaha P45 and Kawai KDP75 have low dynamic changes compared to the Casio PX-S1100, whereas the Kawai always plays muddy without changing the timbre. This doesn't necessarily mean the Casio has the better sample, I would say it has better simulation of dynamic changes.
The Roland F701 had better dynamic change than the Kawai KDP75, which could be useful in recording, and also it allows you to express yourself with more nuances, although the piano sample may not be the most realistic. That PHA-4 action in the Roland is stompy, not sure why so many people like it. The Kawai action is lighter than the Yamaha YDP184. I prefer the action (GH3) and tone of the Yamaha YDP184, which sounds more like a grand. The KDP75 has a piano action that reminds me a bit of the Casio CT-S410, which looks cute, but it doesn't look much like a real piano action. I am talking about the texture of the keys, with a "soft" feel of the keys in a nacre white color. Most lower range Kawai acoustic pianos have shiny keys (K200, K300, GL-10), and even better models (like the GX-2) has satin keys (which is still shiny, not nacre-style like the KDP75). The Roland FP90X has a better sample than the F701, and far more decent action than the PHA-4. Too cushy and sluggish, though (PHA-50): real piano actions are noisy and faster.
Kawai has put the SK-EX sample in many of their digital pianos, but it lacks color and dynamic changes, at least in several lower-range models. I played several acoustic Kawai pianos last week, and even a small piano like the GL-30 sounds incredibly more colorful than that SK-EX sample. I also played the ES920 about a month ago, and it was the same thing: washed out sample. I did play the CA79 about 3 months ago, but now I don't remember if it was colorful enough.
I noticed that Yamaha and Roland have "close" mic piano samples (particularly the FP90X), whereas Kawai has "distant" mic piano samples (or it sounds that way for being so muddy?). This means that, for live playing, I would go with Yamaha or Roland. I wonder if Kawai puts a different SK-EX sample in their stage pianos, like the MP7SE. I owned the MP6 before and it sounded close to me... have they changed that? I also played the MP11SE a few months ago, but I don't remember enough about this "distance" issue.
How close the piano sample is affects the playability of the piano: you want to feel connected to the piano, not like playing it by control remote, as if it was 5 meters away from you.
Forgive me for this unrelated question, but I would like to know if there's a uge difference in size between the Yamaha U1X's soundboard and the Yamaha C2x's soundboard? Vinheteiro's piano comparison is one of the reason why I ask this question🎹🎶
@@MERCEDES-BENZS600GUARD_V12 Hi Benz, that's a very interesting question. I don't know, but I could try playing in the store a 48" upright and a 5'8" or closer size grand piano to see if there is a great difference in the bass response, which is what mostly changes when you go to a larger piano size. 🎸
When moving your piano to a different country or region, you need to consider the climate change. I bought a Bechstein grand piano from the early 1900 in Johannesburg, South Africa. I was very happy with it for many years. After moving to Auckland, New Zealand the sound deteriorated and it needed extensive restoration, and - in my opinion - it never sounded like it sounded in the dry Johannesburg climate, even after the very expensive repair.
Also, we needed a crane to lift it in and out of the second floor, from a balcony.
As an Estonian, this made me sad 😭
I can certainly understand that!
I really missed #3 🤔
I think we all may have apparently! ;)
Is there a better place in the world to shop and learn pianos?
We appreciate the kind words! :)
Wate! Not once, but twice?! Siriously!?🎹🎶
I wonder how would people react if it was a " priceless Steinway " LOL🎹🎶
I don't get why people are trying to save money on moving a piano even if it's a free piano. Go digital if you want to skip that fee. Otherwise, put yourself in the shoes of the mover. There's too much risk of injury, to the movers and to the piano 😄
Laurel and Hardy proved long ago that moving an upright piano up some steep steps can be a challenging job.
We can hear in his voice that Stu is very angry. I think this is not the first time he has some big trouble.
Great video but I did not even need it to have already made up my mind that acoustic piano, no matter how desirable, in not in my future. It is in reality completely impractical (and frankly impossible to properly enjoy) in many realistic city living conditions. Sad but true.
Great stuff. Thanks Stu!
How horrific! What a bunch of HICKS!!
Do your research before you post. The wrecked Bosendorfer was a model 275, not an Imperial. All the more tragic, as insurance could have gotten another 290 Imperial, but the 275 (Bosendorfer's most well-balanced design, IMHO) has been phased out of production, so it will be much harder to replace.
Introduction to Chemistry; Abnormal expansion of H2O below 4 degrees Celsius