Making progress on my choice of replacement piano but am wondering about length. At present my 5'3" is 25" away (tail end) from a radiator (which has a thermostatic control, so I can moderate it a bit). The alternative lengths of 5'10" and 6' 1" would therefore be 18" and 15" away respectively. Any problems foreseen with this? I have no leeway to position a piano (except buy an upright) other than this. The straight side of the piano is by an outside wall, albeit at an angle. The other area exercising my mind is the humidifier, which does not automatically switch on and off according to the humidity, but I run it in the winter from a timer, so it operates a constant number of hours per day - on and off frequently. It has been near the radiator/tail end of the present piano - I assumed that the steam from the humidifier and the dry heat from the radiator might cancel each other out a bit. Is this the best position, or is there such a thing as a 'best position' for a humidifier?
Any thoughts most welcome.
Stuart
Pianos, radiators and humidifiers
Moderators: Feg, Gill the Piano, Melodytune
Interesting and intriguing. Yes, probably the RX route, although this week I am checking out the 'older piano' option - Bluthner, Bechstein etc. But, why no humidifier for the RX? It will please my wife (unlike any shiny black piano). Does this mean I can have the heating and wood burning stove belting out heat?
Many thanks for your response - any thoughts on distance from radiator - does it matter with the RX? Would it be any different for the Yamaha - just in case I have a sudden rush to the head.
Stuart
Many thanks for your response - any thoughts on distance from radiator - does it matter with the RX? Would it be any different for the Yamaha - just in case I have a sudden rush to the head.
Stuart
New pianos (since about 1960) are built from wood seasoned to a low humidity content to suit central heating systems. Earlier instruments need extra humidity in the form of available free water because their makers could never have predicted the reduction in humidity levels caused by artificial heating sytems in modern homes, and the wood used to make them wasn't seasoned to such dryness. Failure to supply this humidity will result in cracking of structural components and loosening of action parts.
Conversely, a new piano starts to suffer in a damp non centrally heated house, with actions getting sluggish and in severe cases, compression ridges (the opposite of cracks!!) occurring in soundboards as they swell.
Direct heat is bad for any piano, so site it away from radiators or direct heat sources wherever possible, but as long as you're sensible, a wood burner and rad in the same room will present no problem. I would suggest 1.5 metres from a rad and 3 metres away from a wood burner as a minimum for a modern piano. Note that it's not temperature itself that causes a piano to go out of tune, but a repeated fluctuation in temperature.
Conversely, a new piano starts to suffer in a damp non centrally heated house, with actions getting sluggish and in severe cases, compression ridges (the opposite of cracks!!) occurring in soundboards as they swell.
Direct heat is bad for any piano, so site it away from radiators or direct heat sources wherever possible, but as long as you're sensible, a wood burner and rad in the same room will present no problem. I would suggest 1.5 metres from a rad and 3 metres away from a wood burner as a minimum for a modern piano. Note that it's not temperature itself that causes a piano to go out of tune, but a repeated fluctuation in temperature.
Many thanks for this. Looks as though an RX3 might be too close at 15", unless I turn the radiator valve way down so it rarely comes on. The woodburner is far enough away and when in action will shut down the radiator anyway. Your mention of wood swelling reminds me of the Rubio copy of the Taskin 1769 harpsichord I had for many years (superb instrument). The soundboard is very thin and one summer swelled up, touching the strings. It had to be carefully brought down again, with no damage, fortunately.
My quest is entering its final phase I think, but I have finally played a C2 and C3 that I liked. Just shows what different acoustics and preparation can do. The Kawais I have tried in several locations have all had the same 'house sound', which is interesting - unless you happen not to like it! Am still sidetracked(?) by a superbly rebuilt Bechstein, but I guess at 6' that really won't like being near the radiator. This also shows that pianos with very different sounds can be pleasurable. The Bechstein has a really open and resonant sound - which I don't hear on a new piano - and the tonal colour changes across the range, which I like, even though it means that it wouldn't suit some music. I am coming from the harpsichord/fortepiano arena of course: Mozart tends to avoid the octave and a half below middle C for 'interesting' material because his pianos didn't perform very well there. This problem hasn't been totally resolved even now I think, that's where dead spots tend to be.
So it's likely to be an RX2 or 3, unless someone can convince me that a rebuilt B or B (can't afford an S or t'other B - you know the one I mean) would be an investment and that my heirs will thank me for my wise choice financially.
Many thanks for the help/information.
Stuart
My quest is entering its final phase I think, but I have finally played a C2 and C3 that I liked. Just shows what different acoustics and preparation can do. The Kawais I have tried in several locations have all had the same 'house sound', which is interesting - unless you happen not to like it! Am still sidetracked(?) by a superbly rebuilt Bechstein, but I guess at 6' that really won't like being near the radiator. This also shows that pianos with very different sounds can be pleasurable. The Bechstein has a really open and resonant sound - which I don't hear on a new piano - and the tonal colour changes across the range, which I like, even though it means that it wouldn't suit some music. I am coming from the harpsichord/fortepiano arena of course: Mozart tends to avoid the octave and a half below middle C for 'interesting' material because his pianos didn't perform very well there. This problem hasn't been totally resolved even now I think, that's where dead spots tend to be.
So it's likely to be an RX2 or 3, unless someone can convince me that a rebuilt B or B (can't afford an S or t'other B - you know the one I mean) would be an investment and that my heirs will thank me for my wise choice financially.
Many thanks for the help/information.
Stuart