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I am considering buying a barely used, nine-year-old Walter whose touch and tonal qualities astound me. It's a physically beautiful instrument, too, and priced right. I really love the piano, but I can't get anything below a mezzo piano. I'm wondering what your guesses are about that being a function of the piano being in a very small space with a big window next to it and on a hardwood floor with a small rug under the piano? The room has large entrances at adjacent sides, so the piano isn't entirely boxed in. The piano was originally sold to the current owner by a very reputable tech who also used to deal Walters, and, knowing him, I think he probably voiced it as a true Walter and didn't do anything to brighten it up. Would you guess this is just a loud piano, or is this normal for a piano this size in a small space? I'm an accomplished pianist and can usually get a piano to purr. On the other hand, the piano could really scream on the other end--way more than I'd ever use. With the exception of the loudness (which is a big exception), I truly don't know if I've ever played a more divine and perfect sounding and playing instrument of any size or make. I almost got choked up it sounded so beautiful. I would have the piano in a small apartment with carpet and drapes, and I would use it mostly for playing light classics, light jazz, and as stress management. smile I can't imagine ever finding an instrument of this quality at this price, but I couldn't deal with not being able to play quietly (nor would my neighbors). I'd worry alot about having anyone revoicing one of Del's specified hammers.

Thanks for any feedback. I've probably got to act fast if I want this piano.
I think you are trying to find youeself an excuse to buy a house. smile
That piano has very hard, loud hammers that were not specified by Del Fandrich. He designed the piano, but the choice of materials and what is done with the design is Walters.

Ask the piano technician that you have check out the piano what he would charge to change the hammers to a cold pressed hammer. Make sure he has excellent experience with this also.

Additionally, the piano is probably out of regulation in a way that makes it harder to control at a soft volume. Ask the tech what he will charge to get the piano excellently regulated.

You can also voice the hammers down for a softer sound, but they are inherently a loud hammer and the loud sound will come back. How soon it will come back will be based on how much you play combined with how aggressively the hammers are voiced.
Originally Posted by Keith D Kerman

Additionally, the piano is probably out of regulation in a way that makes it harder to control at a soft volume. Ask the tech what he will charge to get the piano excellently regulated.


I'd probably start there.
As a Walter 190 owner, I would say get it NOW and don't look back.

As for me, I'm NOT an accomplished pianist, I try my best with the time allotted to me, but i can tell a good thing when I see and hear it and the Walter is, in my opinion, an early twentieth century New York Steinway with a Hamburg Steinway action (German Renner)stuffed into a body that says Charles R Walter on it.

I just recently had further work done on mine and installed a Damp Chaser as well and it just really OPENED UP. What a sound! I love my piano!

The only other thing I can think of that make me happier is to have it in a 9 foot concert version, and that's not going to happen, or get a Hamburg D (Like the one I played at the Steinway store in Vienna next to the opera house) and that's not going to happen anytime soon either. I've gotten the best possible choice for me and it sounds like you have found yours as well.

Either get the hammer work done like the others said or simply learn how to play quieter.

Just get it.
Originally Posted by Theodore Slutz
As a Walter 190 owner, I would say get it NOW and don't look back.

As for me, I'm NOT an accomplished pianist, I try my best with the time allotted to me, but i can tell a good thing when I see and hear it and the Walter is, in my opinion, an early twentieth century New York Steinway with a Hamburg Steinway action (German Renner)stuffed into a body that says Charles R Walter on it.

I just recently had further work done on mine and installed a Damp Chaser as well and it just really OPENED UP. What a sound! I love my piano!

The only other thing I can think of that make me happier is to have it in a 9 foot concert version, and that's not going to happen, or get a Hamburg D (Like the one I played at the Steinway store in Vienna next to the opera house) and that's not going to happen anytime soon either. I've gotten the best possible choice for me and it sounds like you have found yours as well.

Either get the hammer work done like the others said or simply learn how to play quieter.

Just get it.
I think this reply shows the potential danger in getting advice from owners who love their piano. The OP has a serious problem with the piano in its present condition even though he likes many things about it.

The OP is apparently at least a reasonably advanced pianist who can usually play softly without a problem. So telling him to learn how to play more quietly is not really reasonable IMO.

Keith Kerman has indicated that this model has hammers that make playing softly difficult, so I think his suggestion of finding out the cost to change hammers and/or regulate the piano is far more reasonable. Then the OP can know what the actual cost of the piano plus additional work will come to and decide if the price is right. Without doing at least one of those things the OP will not be happy with the piano in its present condition.

Changing the hammers may also change the tone(in other ways besides making softer playing easier)so this is something else to ask a good tech about.
Cristofori,

When you say that the piano won't play softer than mp, are you judging the volume level by listening, or is it the response to your fingers? Do the keys simply not respond to a soft touch?

The reason I ask is that Walter is designed more for home use than in a large hall situation. Often they are disappointing in a voluminous showroom. The fact that the piano thunders, and from your statement I would assume well in excess of what is perceived as ff, sounds odd. Much of it might very well be due to the room acoustics. Usually, a 6'4" piano will not blow you off the bench with sheer power unless its full volume is being directly directed back at the pianist.

Here in the forum, we are often asked by new members who are surprised by how loud their piano sounds compared to the showroom. After a few questions, it is found that the room has similar acoustics to what you describe. Sparse furnishing, hard floors, and lots of glass will affect a piano greatly.

I agree with all that has been said about regulating the action and attending to the hammers. The Walter is a very fine piano and it certainly could be restored to Mr. Fandrich's intention, but that is a consideration based on the kind of price you are being offered. Also, make a considered comparison to the environment you have at home. It might be only the surroundings the piano is in.

If the price is very good, and you are willing to take the chance on additional costs, it still might be an exceptional value. With any used piano of about the same age, regardless of brand, voicing and regulation would not be unusual at all. Hammer replacement would be a much larger investment.
Interesting reply... I mean this in all respect Pianoloverus, your analysis of my response is inaccurate and you should reread it before posting. Sorry for being so blunt.

I didn't say learning to play quietly was the only option. I said either do what the other posters said to do, which was to find out about the option of the hammer replacement or work on them. There of course are other things you can do as well but when you find a superb instrument, like any other desirable possession, you make the accommodations and make sacrifices to obtain it. After all we only have one life right?

If the piano in subject was a Steinway, I don't think anyone would be having this conversation. Loving your piano, or potential piano is the main reason of buying and then owning the piano in the first place, and clearly the OP loves this piano.

IMO i think this person's following statement qualifies for forgiving an idiosyncrasy or two:

"I truly don't know if I've ever played a more divine and perfect sounding and playing instrument of any size or make."

Also to start out with the statement: "I am considering buying a barely used, nine-year-old Walter whose touch and tonal qualities astound me."

In my view, when I read statements like this, it moves me past the minor issues and look at the broad perspective. After all the statements I've read on here and conversations with my technician, you actually CAN find a way to make it "sound" softer. "Playing" softer is another issue and it involves technique changes.


As a post script... In the book "A romance on three legs," Gould's technician spoke about how Gould literally stepped on the soft pedal ALL the time. There's no telling if he exaggerated or meant it literally, but I have found that practice useful for my own environment.
TS,

I believe that PLU responded to your opening statement:

"As a Walter 190 owner, I would say get it NOW and don't look back."

Being an owner of a similar instrument does not address the OP's concerns. Because I own a Mayberry & Aunt Bee doesn't prove its quality or appropriateness for other's usage, and I certainly would not unequivocally suggest that others buy one NOW.
Originally Posted by Theodore Slutz
Interesting reply... I mean this in all respect Pianoloverus, your analysis of my response is inaccurate and you should reread it before posting. Sorry for being so blunt.

I didn't say learning to play quietly was the only option. I said either do what the other posters said to do, which was to find out about the option of the hammer replacement or work on them. There of course are other things you can do as well but when you find a superb instrument, like any other desirable possession, you make the accommodations and make sacrifices to obtain it. After all we only have one life right?

If the piano in subject was a Steinway, I don't think anyone would be having this conversation. Loving your piano, or potential piano is the main reason of buying and then owning the piano in the first place, and clearly the OP loves this piano.

IMO i think this person's following statement qualifies for forgiving an idiosyncrasy or two:

"I truly don't know if I've ever played a more divine and perfect sounding and playing instrument of any size or make."

Also to start out with the statement: "I am considering buying a barely used, nine-year-old Walter whose touch and tonal qualities astound me."

In my view, when I read statements like this, it moves me past the minor issues and look at the broad perspective. After all the statements I've read on here and conversations with my technician, you actually CAN find a way to make it "sound" softer. "Playing" softer is another issue and it involves technique changes.


As a post script... In the book "A romance on three legs," Gould's technician spoke about how Gould literally stepped on the soft pedal ALL the time. There's no telling if he exaggerated or meant it literally, but I have found that practice useful for my own environment.
You have selectively quoted the parts that are positive. My strong impression from the OP is that if the inability to play softly can't be solved the OP would reject the piano despite everything he likes about it. In fact, I think he or anyone else would be foolish to buy a piano that they couldn't play below mp. That is not some minor idiosyncrasy.

My comment on your post has zero to do with the brand. I have said many times at PW that dealers for piano X and owners of piano X are quite frequently not the best people to ask about piano X because they both have inherent bias.
Originally Posted by Minnesota Marty
Mayberry & Aunt Bee .


Lol!!
I agree with Keith. Changing the hammers can make a dramatic improvement to an instrument's tone and touch if the existing hammers are too hard and/or heavy. Ronsen Bacon felt hammers would probably be a good match. Expect to spend a few thousand to replace the hammers and regulate the action.
As always, K K has excellent suggestions.

I have a MH AA (over 6 ft) and it is in a small room in a small old house. I have lined drapes on 3 windows; a wool carpet and pad, and a quilt on wall along with quite a bit of wood furniture. It works. Best when the lid is down for daily practice. I have even closed the flap and put the music rack on it, but the sound then becomes more muffled, not as pleasant to my ear. But it did make it softer.

It has been regulated and voiced. And has the ability to be played pp.

Suggestion from here that maybe you can do what I can't, was to angle the piano slightly to change the acoustics.

I think it's time to hug
Originally Posted by Cristofori
... I'd worry alot about having anyone revoicing one of Del's specified hammers.

It sounds like that has already happened.

The original hammers—made-to-order Abel—in their original condition would not sound like that.

One of the problems these pianos faced when originally introduced was that they were often sold against pianos such as Yamaha. Dealers were bothered because they didn’t sound as bright and powerful as the typical Asian piano of the time. Rather than work with them and present them as a musical alternative to the hard, linear sound prevalent then, their expedient was frequently to start adding chemical hardeners to the hammers—much like Baldwin and Steinway hammers of the time—until they sounded “bright” when sitting out there in a big, open showroom.

This solution (sorry about that) didn’t work for Baldwin pianos, for Steinway hammers or for Walter hammers and it resulted piano capable only of an unmusical cacophony of harsh, strident sounds that bore little resemblance to the meaning of pianoforte. But, what the heck, they were bright and they were powerful and everybody knew that pianos had to sound bright and powerful to sell.

Have your technician take a look at the hammers. If they’ve been lacquered (or otherwise chemically hardened) they’ll have to be replaced. Today I’d probably specify a Ronsen hammer with the felt being chosen to suit your specific environment.

ddf
Del, I love your piano you designed!!!

Sorry I haven't told you before, I know how important it is to be recognized for a great accomplishment and you achieved that in mapping out a masterpiece for Charles Walter.

Fortunately I found a used Walter with the original hammers still intact, so the sound is sublime.

Thank you!
Originally Posted by Theodore Slutz
Del, I love your piano you designed!!!

Sorry I haven't told you before, I know how important it is to be recognized for a great accomplishment and you achieved that in mapping out a masterpiece for Charles Walter.

Fortunately I found a used Walter with the original hammers still intact, so the sound is sublime.

Thank you!

Why, thank you ... blush

ddf
Thank you, everyone, for the feedback. It's a great piano, but I'm really uncomfortable not knowing how it will sound after getting new hammers. Probably won't be forking out a big chunk of my savings for a piano that I'll then have to pour a couple of grand into. Too bad. I think I probably gently auditioned the piano on my first visit, but when I went back with a friend the second time, my ears almost bled from the second he started pounding something out. It's in the mf to f range that I heard the sound that really got me, but you've got to be able to play and stand listening to the stuff on either sides of that range.

BTW, I've lost a little respect for the bigwig local tech here that would have prepped that piano. He and his wife are always talking about what purists they are and that they're above the fray of "those other" dealers. A real shame. I guess I feel bad they had to take such desperate measures to sell the piano.

Originally Posted by Cristofori
Thank you, everyone, for the feedback. It's a great piano, but I'm really uncomfortable not knowing how it will sound after getting new hammers. Probably won't be forking out a big chunk of my savings for a piano that I'll then have to pour a couple of grand into. Too bad. I think I probably gently auditioned the piano on my first visit, but when I went back with a friend the second time, my ears almost bled from the second he started pounding something out. It's in the mf to f range that I heard the sound that really got me, but you've got to be able to play and stand listening to the stuff on either sides of that range.

BTW, I've lost a little respect for the bigwig local tech here that would have prepped that piano. He and his wife are always talking about what purists they are and that they're above the fray of "those other" dealers. A real shame. I guess I feel bad they had to take such desperate measures to sell the piano.

This is not the first time I've heard this story. And it's not the first time of heard of a sale being lost because of it.

I'm not sure this would have happened today. Piano buyers are more informed about piano performance and it is forcing both manufacturers and dealers to tone them down and search, once again, for the essence of music. And to learn how to sell it. The days of "power sells" above everything else are almost over.

(Before you're too hard on your local technician, by the way, make sure you have the whole story. There are a number of ways the hammers could have ended up overly hard. It is possible Walter could have received hammers that were overly hard from the hammermaker. It is possible that the factory voicer could have juiced them up; these folks are human as well. A lot can happen to a piano between the factory line and the buyer's home. And a lot could have happened to it in the buyer's home.)

ddf
I recently dealt with another brand of piano for a client. Their complaint was they could not play softly either.
The regulation and some friction issues were dealt with. Now the instrument is performing as intended.
The main culprit was the let off was too far from the strings and damper timing being early. All regulation setting had to be reviewed.
Some tight keys (bushings and balance holes)
So after some needed prep all is well.
Please understand the regulation on a $100,000 dollar piano or a $40,000 dollar piano will settle after some time. All pianos need technical service, many/most clients never have anything done except the yearly tuning, if that. Some of the entry priced instruments will settle even faster.

The hammers could have been hardened or not. A technician should take a look. The notion that the hammers are ruined is not guaranteed. Some of the most expensive pianos in the word use a similar hammer and are voiced in the factory with the results desired.

The hammers on the instrument being discussed will need some voicing but I bet the best plan of attack is, regulation.
Did you find out what the "bigwig local tech" did to the tone? Maybe he did what the present owner wanted? Too little information for me to judge here.

You like to play the piano but you don't like to hear your friend play it. Do you usually like your friends playing?

Many more questions could be asked-but I agree with Del-putting Ronsen hammers on properly, (which would include shaping them to lighten the treble and some judicious use of properly applied stiffening solutions) would improve a Walter from factory original tone quality. It would also make a tone that is more stable with use-it would not brighten up to the screeching zone.
Yes small space and hardwood floor make it sound extra loud. For the player, uprights also sound louder than grands because they are sitting right in front of the sound board. If there is also a wall right behind the player (you don't explicitly mention but you said small space) yes that could make it very loud

Also, the loudness might lower your capability to properly judge the 'touch and tonal qualities' that 'astound' you.
[quote=Ed McMorrow, RPT]Did you find out what the "bigwig local tech" did to the tone? Maybe he did what the present owner wanted? Too little information for me to judge here.

Your post was helpful. Thanks. I'll explain why I didn't offer more information to begin with: my post was already too long, and I didn't want to bore with details! I know the present owner didn't request any changes from showroom condition. She was a wealthy adult learner who ended up not playing very much on the piano, and has had it tuned only a couple of times. She essentially read Larry Fine's book and like the piano's finish before buying it, and it's sat as a piece of furniture. smile
Originally Posted by Cristofori
Your post was helpful. Thanks. I'll explain why I didn't offer more information to begin with: my post was already too long, and I didn't want to bore with details! I know the present owner didn't request any changes from showroom condition. She was a wealthy adult learner who ended up not playing very much on the piano, and has had it tuned only a couple of times. She essentially read Larry Fine's book and like the piano's finish before buying it, and it's sat as a piece of furniture. smile

Well, it's your money and your home but were it mine I have another technician out there to look at the piano and give me his/her professional opinion on the tuning, the action regulation and the hammers.

If the piano has only been tuned a couple of times since it was new it's not likely to be holding very well and that is going to make the sound somewhat harsh all by itself.

Walter does a pretty good job of action regulation but things do settle. If the action hasn't been used much it shouldn't take much to bring it back to its like-new condition.

Hammers are the big uncertainty. Ask your own technician what can be done to voice the original hammers. As Rod pointed out they can undoubtedly be improved. If new hammers are required in the near future it is not something to be afraid of; our choices are much better today than they have ever been. Time was when you had a choice of super-soft or super-hard. Everything either needed chemical hardeners or massive amounts of pre-voicing. Not so, today. Things are much more predictable. As well, more technicians are more familiar with the basics of good voicing. The better ones, at least.

So -- my advice? -- if your technician comes down on the side of new hammers then make sure the price of the piano reflects that expense and go for it.... These are good pianos that -- when new -- are already priced well below their real market value. You'd be getting a nearly new high-end piano for whatever price you end up paying. If the piano does end up needing new hammers any time soon you have the opportunity to select just the right hammers for your particular situation.

ddf
I believe I auditioned this piano as well. My impression is that the biggest problem was the piano's placement in the room and in the house. Everything was at right angles, the player's back was to an open wall which opened to the front entryway with tiled flooring. To the player's right was another opening this one out to the kitchen and living area with hard floors--a very large open space ending with a panoramic view window. The sound came out into this giant megaphone and hit the window straight on.

Just looked back at the ad. The one I saw shows up as sold on the local classifieds.
Did you get it Cristofori?

Del, I'm curious why your preference for the CW 175 over the 190? It would seem the size advantage of the 190 would trump the 175 in sound quality.
Originally Posted by Grandman
Del, I'm curious why your preference for the CW 175 over the 190? It would seem the size advantage of the 190 would trump the 175 in sound quality.

It's not that I don't like the 190, I do. It's a very nice piano that does just what it is supposed to do. It is only in retrospect that I can look back on the design and think, "What if I'd done that just a little bit differently...?"

With the 175 the expectations were different—it's a shorter piano, after all—and in several ways it is a more targeted design. With the 190 it was expected that the piano would be used in homes as well as larger venues such as churches and small recital halls. When conflicting expectations enter the project they always lead to compromises somewhere along the way. With the 175 the market is more targeted; most of them are going to be used in homes so I could optimize its design for that purpose. The scaling tensions are a little lower. The soundboard assembly is a little lighter and the hammers are a little lighter and softer.

As well, I think the bass-to-tenor transition on the 175 is just a bit more balanced. The 190 is just long enough that a 27-note bass section can be used without foreshortening the end of the bridge and without resorting to wrapped strings in the tenor. But it ended up making the fit of the tenor scale of the desired length just a bit tricky. (Yes, there’s a story there but it’s not one I’m going to go into publicly.) It worked out okay and it’s smooth enough—considerably better than most pianos of its size—but I have always wanted to try doing things a bit differently.

When I was designing the 175 the company wanted to be able to use the same action stack with both pianos so that dictated the same bass-to-tenor transition point; i.e., the 175 also has a 27-note bass section. This piano is too short to use plain steel strings all the way to the end of the bridge without introducing a considerable amount of foreshortening and that is something I won’t do. My solution was to bring back an updated version of the transition bridge; five unisons of wrapped strings are fastened to a separate, platform-mounted transition bridge. The wrapped-string scaling starts on this transition bridge and continues smoothly all the way down to the end of the scale.

The speaking lengths of the bass scale are a little shorter than are typically found on pianos of this length. This allows for a somewhat longer backscale. Along with the directly-coupled bridge and the floating soundboard along part of the tail of the piano the quality of the bass tone is very nice. There are some other pianos of similar size with louder-sounding bass sections but none (that I am aware of) that have as much fundamental and low-partial energy in their waveforms. For its size this piano has a very clean and articulate bass section.

There was about a ten year gap between the design of the 190 and that of the 175. I’d learned some about making shorter pianos scales work during that time and at least some of what I’d learned made it into the 175.

Which brings me back to the 190 in question. As noted, it was a compromise design intended to walk a middle line between home use and larger venue use. Part of that compromise was in the selection of the hammers; they were slightly harder than I would have really preferred for the piano. Even then they were not hard enough for some dealers who ended up chemically hardening them and (in my opinion) significantly diminishing the inherent musicality of the piano.

Back in the early 2000s during one of my trips to the factory we tested one of these pianos with Ronsen hammers pressed with Bacon felt. These were the softest hammers available at the time. With the exception of an initially weak treble the piano sounded wonderful; pianissimo to die for and yet the power was there when needed. The treble was brought up through a combination of sanding and chemical hardening. These would have been my hammer choice for the piano except that Ray doesn’t do production pianos and, at the time they were a little too inconsistent for production use. But, my personal feelings aside, they really were too soft for the market at the time; dealers would have complained about the lack of “power.” (Some—confusing a lack of bright harshness with a lack of “power”—did so anyway even with the harder Abel hammer.) I rather suspect with today’s more enlightened view of piano tone they would be more acceptable.

Anyway, if I was to miraculously end up with one of these pianos in my living room I’d pull whatever hammers were in there and replace them with a set of Ronsen hammers, pressed with Bacon felt and having asked Ray to leave them in the press just a little longer than normal. Then I’d taper them (per normal practice), lighten up the treble a bit, and sand and harden the treble as necessary.

ddf
Thanks for that.
The 175 is officially added to my "Must Try" list.
"...Anyway, if I was to miraculously end up with one of these [190] pianos in my living room I’d pull whatever hammers were in there and replace them with a set of Ronsen hammers, pressed with Bacon felt and having asked Ray to leave them in the press just a little longer than normal. Then I’d taper them (per normal practice), lighten up the treble a bit, and sand and harden the treble as necessary.

"ddf..."


I seem to remember hearing that it would be possible to special-order these hammers and felts on the 190, factory-installed. But it sounds like it may not be so simple a matter.

Oh well.

Regarding the shopper's 'must hear' list. You will not hear much of the piano's voice if you audition it in the middle of the showroom floor. If it's possible to get the dealer to move it into a space that's more the size of a home music room, it will give it a far better chance to show you what it's made of.

It is worth the effort.
Originally Posted by Jeff Clef
I seem to remember hearing that it would be possible to special-order these hammers and felts on the 190, factory-installed. But it sounds like it may not be so simple a matter.

It should still be possible. This is a small, customer-friendly company.

ddf
The factory is more than happy to install Ronsen hammers on the 190 if ordered that way.
I personally think the Abel natural hammers they have been using for the last few years sound good and voice quite well.
Originally Posted by Del

Anyway, if I was to miraculously end up with one of these pianos in my living room...


So Del, this begs the question...what piano do you have in your living room?

BTW, my tech, Walt Connell in the DFW area, speaks very highly of you, both personally and and of your designs. I definitely have it on my list to try your Walter designs when I can find them.
Originally Posted by Steve Peterson
Originally Posted by Del

Anyway, if I was to miraculously end up with one of these pianos in my living room...


So Del, this begs the question...what piano do you have in your living room?

BTW, my tech, Walt Connell in the DFW area, speaks very highly of you, both personally and and of your designs. I definitely have it on my list to try your Walter designs when I can find them.

It varies depending on the project I'm working on at any given time. Or, more accurately, which project I've just finished. The piano I have just now is one we kept when we closed out our store it is scheduled to be replaced with a Decker (probably) core having a somewhat different soundboard system.

ddf
Unless the OP has definitely decided to pass, these would be my suggestions:

1. Discover the price to replace the hammers, regulate, tune, and voice. Use this as negotiating leverage in your price.

2. Place the piano in your home and just play and listen for a week or two after its been tuned.... JUST tuned. Because of the acoustical change in your setting, you might be pleasantly surprised at the difference.

3. If you still feel it's too fierce, have it regulated, touch up tuning, and some voicing. (as pointed out, the voicing to soften the volume may not last long, but just try a couple of octaves first and see how that works out for you)

4. After a couple more weeks, if it's STILL too loud, then you know you need new hammers, and you should be prepared to go that route. Of course if it makes you nervous to worry about the overall sound after new hammers are installed, then you likely have your answer.

Good luck with your decision.

Doug
Malkin,

Yes, we tried the same piano. Maybe we'll meet sometime, or maybe we already know each other.

My Scottish parsimony won out, and a friend of mine bought the piano--not me. I doubt I'll ever find such a fine instrument at such a price again, but I did let it go.

I want to try a 175 now, too!

I hope to own a Del-designed instrument someday.

Cheers.
Cristofori,

We know that you were torn by the decision, but you did what was best for you. That's the best way to shop for anything which is as important and personal as a piano.

Since a friend is the new owner, I assume that you will be able to hear the piano in its new home. Would you let us know your reaction to the sound differences when it is in a different acoustic environment?

Best wishes,
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