Piano World Home Page Forums Our Most Popular Forums Piano Tuner-Technicians Forum David Stanwood Patent (SALA)

Possibly. However, David claims that none of the regulating parameters change during this process. I will just have to see for myself, I guess. But not for $10,000, I won't!

Let me shed some light on all of this, since I was fortunate to work with David for five days, two summers ago, on the second prototype of this system, which we installed in my own Steinway M. By the way, the article is incorrect when it states that the first one was installed in a Steinway D at Brandeis University. The first was installed in David's own Mason A, which he displayed at the MARC PTG Conference for the first time in April of 2009. Anyway, none of the original components of the action move or are altered in any way. The movement of the "pivot point" of the key is facilitated by what David likes to call the "gadget" which is a piece that is created by a CNC router with a slot that sits over the balance pin and its paper punchings. On the "gadget", on either side of the slot that surrounds the pin, is attached a piece of felt cut from a felt balance rail punching. The gadget is then attached to the aluminum mechanism that slides it forward and back under the key by means of it's attachment to the knob apparatus just behind the keyslip on the front of the keyframe. The gadget, and the felt attached to it, are the source of the fulcrum point of the key, and the reason that regulation is not affected is because the system needs to move very little in order to get the desired effect. When the gadget/felt move toward the back of the key, as the knob is turned counterclockwise, the front of the key essentially becomes longer, thereby providing a mechanical advantage and giving a lighter touch. The opposite is true as you turn the knobs clockwise and the "gadget" moves forward. As far as who is responsible for setting the knobs, that will always be the player, since they are looking for their "sweet spot". There is a gauge alongside the knob that shows the five different positions on a scrimshaw indicator. The variation of positions is infinite between the first and last points in the range. As far as comparisons with the touchrail system, I have used both and they really work on such different principles that the results are not comparable. I have had many high level concert pianists play my piano with this modification and all have raved about how well it worked, how easy it was to operate, and how different it made the piano feel with each adjustment. For those of you who are bored with all this, (yawn??), I would suggest a more open mind toward the idea of improving the function of the modern piano. As good as the original design might be, folks like Stanwood, Wapin, Wessel Nickel and Gross, Kawai, Steingraber Phoenix, Stuart Pianos, etcetera, have all proven that you don't need to live in the past in order to enjoy a truly wonderful instrument. It is possible to build on the wonderful fundamentals of the original piano design, while improving on some of the inherent shortcomings, to create a 21st century instrument that exceeds the performance of the traditional design. No one seems to "Yawn" when Del speaks of his design changes and concepts. The same open mindedness that accepts and appreciates his genius and efforts should be afforded to others who devote their lives to the improvement of piano design.

Here's a PDF of the patent. It makes things much clearer:

http://www.freepatentsonline.com/7915509.pdf

Very nicely said, CC2. I have a Stanwood touch design on my piano and I am playing pieces that were out of my reach before it was installed. It's not simply that the reduction of friction allows me to play bravura passages or concert etudes; it's that I can control the tone even in these sort of passages with such ease. I can see why some well-known professionals have this system on their home piano.

With all the fretting about the death of the acoustic piano, we have to recognize that we live in a time when the piano action is being refined to remarkable levels, and the soundboard itself is now undergoing significant changes.

Thanks Numerian. I have also installed numerous Stanwood Precision Touch Design systems in my own, and other's, pianos, as well as the Wapin bridge system, and I agree that they allow the player to do things, and to enjoy their piano, in ways that were not previously possible. The Stanwood SALA system is just one more way to do that.

I think that this is a very ingenious invention. I just have a hard time understanding why it costs 10,000$. I could probably sell many of these if the price were lower. The system seems very simple both in parts and installation. Heck, I could probably replicate it for a fraction of the cost. Maybe if it becomes really popular, the price will come down.

Quite!

I should add that I am happy for Mr. Stanwood to have secured the patent for his invention. It IS a new invention. Simple and practical. I would love to install this in one of my customer's pianos.

With this system, we could even find a way to level keys in an easier way.

I've been playing the piano since I was 5 years old. Started my apprenticeship as a technician when I was 19. I am now 45.

I would LOVE to try Mr Stanwood's invention.

For funk, jazz, rock, make the action heavy.

Then, when the ballads and lululabys come, you dial it to your taste.

I think, between that, and 7/8 keys, everyone will find their "touch"

Research and development are certainly a reason for the cost now.

I hope Mr. Stanwood can eventually justify selling kits for a decent price, I will be a customer!

Just my 2 cents

I don't know how I missed this!

CC2, beautifully said and I could not state it better. This is absolutely a system that is appreciated by artists, particularly by schools. The result of having one piano with SALA in a performance venue is more like having two or three pianos - at least as far as touch is concerned.

The very first patented SALA system was installed in a Steinway D here at Cunningham Piano Company in April. That piano was immediately delivered to a 9 year old prodigy whose compositions are scheduled to be performed by The Curtis Institute orchestra this coming fall. His teacher, a very well known performer, flipped for the SALA.

Here is this child in performance at 8 years of age, after playing for 9 months:



Here he is after playing 18 months:



Additionally, we recently had a gathering in our restoration facility of some giants in the technical field. They came to look over the installation, to meet and greet, and to discuss all things technical. From left to right:

Joe Cossolini, Art Reblitz partner in crime - you see his hands throughout the Reblitz books.

Kurt Weissman, VP of piano technology here at Cunningham.

David Stanwood, you may have heard the name.

David Andersen, LA dude and great action man

Steve Minkoff, Steinway action expert



For those with interest, we are planning an evening with SALA this coming Fall and it will be here in the Philadelphia area. If you would like more information, please let me know by pm or send me an email.

In my mind the SALA is simple in theory, elegant in design, quite complicated in installation, but truly freeing to an artist and fiscally sensible to a university or music school.

My 2 cents,

Who knows if this invention will end up meaning much. One thing is certain, Mr Stanwood is in a self-celebratory mood.

"This is kind of the ultimate invention which draws upon all of my skills. This is the pinnacle of invention — this adjustable leverage action. "

"The light bulbs do not go off without all the dedication, a lot of passion, and trying a variety of options. Then the miracles happen."

"Elegant in design,complex in execution,and simple in function”

Roy,

All that aside and speaking as a player - it is very sweet.

While I am sure this could be applied in certain concert situations with different artists attending and performing I wonder about the common man who owns a grand piano.

Oh sure there will be the fellow with deep pockets who has to have the latest gadget…..

But really; thinking practically, how much does a full regulation of a grand action/keyboard cost with touch weighting? Certainly not 10K……

How many times can one regulate a grand action, adjust the keyboard before you get to 10K?

Reminds me of the self tuning piano gimmick…..I guess I am just too practical……..I can think of a LOT of things to spend 10K on and the way my piano plays would not be one of them.

Good players adjust their style to whatever instrument they encounter. When I played on the road you should see some of the pianos you have to sit in front of……absolute basket cases…..but you play them anyways….

I agree totally. At 10,000$ it is a very small niche market, VERY small.

Make it a kit sold to techs for 1500$, that could work.

Or even better sell it to a manufacturer.

The concept is great I believe.

I agree. This is a great concept.

For something like this I would have developed the item, then after patent, give the entire thing to a manufacturer with a rights agreement of sales percentage for a period of time or forever.

A large manufacturer would shoulder the costs of units and could place these items in every dealership the next week….. then have their shop techs and sales team promote the item for outside sales.

Yes

I know David, and you can be sure he has approached major manufacturers with the SALA, as well as the Precision Touch Design. Unfortunately, as is true in a large portion of the piano technician community, there is a preponderance of tunnel vision and being "stuck in the past" among piano manufacturers as well.

Although it is not my place to comment on this, I will say that there is already at least one manufacturer incorporating this system into their manufacturing as an option. And of - course the custom installations will always be available from a small consortium of well prepared installers.

Rick, by any chance would this manufacturer be in the Keystone State?

Jeff,

Actually, yes. But I was referring to a European manufacturer when I made the comment.

you just wait..once a major performing artist has and uses it, will be asked for, even as an option..just like a car..! Stanwoodie action, Steinbuler 7/8 key size..it takes "marketing", yesterday I heard a story on KYW radio on
Cunningham pianos..new craftsman?..well how else would I have known?..now of course this was a news story..but it could have been turned into a commercial ad?
how do we find out about anything these days, but from commercials!