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Yes Ginster6. We offer three different types of hammer head depending on the customer's ideals, different key spec and lots of prep, custom voicing and regulating.


Chris Venables
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Originally Posted by ChrisVenables
Yes Ginster6. We offer three different types of hammer head depending on the customer's ideals, different key spec and lots of prep, custom voicing and regulating.


Crhis,

Wow, your website is awesome, very professional thumb . Even some piano manufacture's websites are not as informative as yours. But the new academy 168 and 180's webpage seemed missed, or not ready yet?

For 180, I remember Rotom posted about his comment few days ago, just as positive as you mentioned above.

But how about the new 168? No one has give any feedback yet. If compared to HG178, is 168's "creamy" tone quality better than 178? I always feel that 178's tone is a little bit thin, lacking some richness. I don't know if this is due to the "laminated" soundboard. Also, 168 is smaller than 178, could this 10cm shortage result in a big loss in its bass deepness even with solid spruce soundboard, new designed iron plate and other secret details we yet haven't known?

Tom

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Thank you Tom for the compliments regarding our website. My son William, (Tur- all the best people seem to be called William) grin does it all in-house.

We will be video recording the 168 and 180 next weekend as we only received these models end of August. Thereafter they will be featured on our website as per our other models.

The 178, as you rightly say, being 10cm longer, does have a better overall bass than the 168, but the 168, especially after our hammer work and prepping produces one of the creamiest sounds I've heard in a grand at this price point. The very low bass on the 168 however, is very warm, pure and deep.

I've not experienced the 'thin' sound you mentioned on the 178 and I would attribute any tonal thinness to lack of dealer prepping and certainly not because of a veneered soundboard which I have no problem with at all.


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Originally Posted by ChrisVenables
We will be video recording the 168 and 180 next weekend as we only received these models end of August. Thereafter they will be featured on our website as per our other models.


Well, that will be great to hear how these new academy grands sound under your excellent voicing work.

Originally Posted by ChrisVenables
The 178, as you rightly say, being 10cm longer, does have a better overall bass than the 168, but the 168, especially after our hammer work and prepping produces one of the creamiest sounds I've heard in a grand at this price point. The very low bass on the 168 however, is very warm, pure and deep.


So if there is a comparison, I mean, under the same prep and without considering the bass deepness, 178 and 168, which do you think has a better tone quality and is more attractive to its audience? Do the solid soundboard, able hammers, new ion plate and other new designs make huge differences in the sound?

Originally Posted by ChrisVenables
I've not experienced the 'thin' sound you mentioned on the 178 and I would attribute any tonal thinness to lack of dealer prepping and certainly not because of a veneered soundboard which I have no problem with at all.


Now I see what an important prep work is a must for pianos made under Chinese mass-production line...

I really like both the 152 and the 200 grands' tone on your website. To be honest, I've never heard such beautiful tones from those grands in my local Hailun dealer-shops.



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Originally Posted by Tom FU

So if there is a comparison, I mean, under the same prep and without considering the bass deepness, 178 and 168, which do you think has a better tone quality and is more attractive to its audience? Do the solid soundboard, able hammers, new ion plate and other new designs make huge differences in the sound?



Under the exact conditions that you mention above, the 168 is extraordinarily sweet in the mid section around mid C to 2 octaves above, there is little to choose between between a 168 and 178 in the top section. The longer piano wins at the bass break.

Most of these pianos are going to be bought by families who play for pleasure and are looking for a warm, lyrical tone, e.g. to quote from our website: "ideally suited to those wanting a piano for a more intimate environment, chamber-work or vocal accompaniment." If you're a pro player and looking for a piano under 6'00" to thrash and one that perhaps has more raw cutting power, then I'd suggest a Yamaha, or a Steinway if you have the cash.

Regarding your question on comparing how different components in these models alter the sound, it's the sum of the parts rather than each individual part, plus the amount of dealer's prep such as regulating, strike point, string levelling, hammer shaping and toning.


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Quote
Now I see what an important prep work is a must for pianos made under Chinese mass-production line...


No more, no less than all other "mass-produced" pianos.
Or for that matter - 'any pianos'.

While there once was a time when extensive preparation was necessary for Chinese made pianos, this no longer seems necessary, at least not for the pianos we've seen in recent times.

When recently visiting a prominent dealership, many of his pianos of hadn't been tuned even once, let alone "extensively prepped"

To be frank, even some of those top tier pianos sounded less than impressive, not denying that they *could* if properly set up.

Amazingly, among them were some rather lofty "non-mass-produced" names....

Norbert

Last edited by Norbert; 09/18/11 01:28 PM.


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Norbert,

By way of introduction, I'm David Rodgers a long time piano tech.

I couldn't agree with you more. A few years back I had two Estonias sent to me straight from the factory for preparation for the customers, installation of Pianomation systems and transport damage repair.

The pianos sounded like garbage when I got them out of the crates. I couldn't believe how bad they were. I went about regulating, pounding the action and strings in, reregulating, tuning and tuning and tuning, then regulating some more and finally voicing.

I was quite surprised at what left my shop. They were downright respectable pianos anyone would be happy to own for the price.

DR


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Originally Posted by SweetMusicLover

The pianos sounded like garbage when I got them out of the crates. I couldn't believe how bad they were. I went about regulating, pounding the action and strings in, reregulating, tuning and tuning and tuning, then regulating some more and finally voicing.

I was quite surprised at what left my shop. They were downright respectable pianos anyone would be happy to own for the price.


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Originally Posted by Del

This is, of course, the definition of a laminated panel. I’m not sure what you mean by the following:
Quote
note... it is not multi-layer wood compress together (laminated) .


ddf


I suppose what they refer to as "multi-layer wood" is just plywood?


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You suppose wrong.

If you happen to be at a lumber yard, check the edge of its top grade of plywood to count the number of thin layers of equal width that are laid across each other. You won't find anything resembling a substantial solid core sandwiched between two thin skins.

Plywood is designed with one purpose in mind. A laminated soundboard is designed with another purpose in mind. Differet properties of strength and flexibility are sought in each. There is commonality in that both are cost-driven alternatives, but as Del has pointed out in this forum, the musical potential and long-term stability of a laminate board of cost X may well exceed the musical potential and long-term stability of a solid board of the same or even higher cost due to the scarcity and cost of superior solid tonewood.

Labeling laminated boards as plywood in similar to labeling Kawai's current piano action as plastic. Comments from within the piano industry that equate a laminate board to plywood are driven by marketing, not engineering.


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If you happen to be at a lumber yard, check the edge of its top grade of plywood to count the number of thin layers of equal width that are laid across each other. You won't find anything resembling a substantial solid core sandwiched between two thin skins.


No, of course not, because LAMINATED WOOD is not MULTI-LAYER WOOD but solid wood with a thin laminate. Please read again. Hailun is stating they are NOT using multi-layer wood.

I still suppose that they mean plywood by multi-layer wood.


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Hailun is stating they are NOT using multi-layer wood.


If this is indeed true then it is incorrect - they clearly not stating fact.

We have always presented to our customers the truth when subject came up.
The better dealers out there sure do and have done same.

And then there are always some other makes where this quagmire doesn't even have to come up....

Norbert wink

Last edited by Norbert; 10/23/12 09:16 PM.


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Depends on the model.

Some use Strunz soundboards

Some don't

Some use custom soundboard made from Austrian Spruce

Depends

One thing though - they all sound great. So who gives a rat's a**



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Originally Posted by Furtwangler
Depends on the model.

Some use Strunz soundboards

Some don't

Some use custom soundboard made from Austrian Spruce

Depends

One thing though - they all sound great. So who gives a rat's a**



Obviously, Hailun gives a rat's arse. They've gone to great lengths to bury the meaning of laminate under a "meniscus coating". One wonders what percentage of the English-speaking population would gues that the coating is actually a thin wooden panel.

Whether you think they all sound great or not, they do sound different. and with no one in the industry other than Pearl's Kayserberg wiling to take a chance on putting a laminate into something that is not entry-level, it's not surprising that consumers still give a rat's arse too.


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One question: If the Laminate boards with that "Meniscus spruce" coating sound different to ones with solid spruce boards, at least you could explain HOW exactly they sound different, as opposed to just saying "they sound different". Otherwise it is a pointless statement to say that, as they could very well sound the same depending on the obvious variables.

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I don't think it's pointless, but maybe it's futile because you can't isolate the soundboard difference in Hailun models as the sole characteristic that differentiates them. They are of course of different lengths with different scale designs, and as their retailaers will occasionally point out -- different guest designers.

Even if we largely eliminate the length difference by comparing the 180 to the 178, we're still stuck with the fact that each one has a different plate design (among other variables). So, I'll grant you that it's a bit futile to nail anything down.

My own subjective impressions are that the 161 and the 178 have the same musical character and that while it's pleasant, it's not a distinctive or memorable character. I've always felt (from 2007 actually) that those two were good pianos for the asking price through, meniscus or no meniscus. My impression of the 218 is that it is distinctive, memorable, and just a very fine piano period.

I wasn't throwing a bucket of cold water at Hailun, although I do find their dodge of the term laminate particularly amusing and creative. My point was that only a maker who embraces laminate technology in a way that does not obscure it and takes the risk of putting it to use in some of its more expensive models can do much to advance the cause of laminate boards among people who have been trained by industry marketing for decades to worship the solid spruce board.


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Originally Posted by turandot
I don't think it's pointless, but maybe it's futile because you can't isolate the soundboard difference in Hailun models as the sole characteristic that differentiates them. They are of course of different lengths with different scale designs, and as their retailaers will occasionally point out -- different guest designers.

Even if we largely eliminate the length difference by comparing the 180 to the 178, we're still stuck with the fact that each one has a different plate design (among other variables). So, I'll grant you that it's a bit futile to nail anything down.

My own subjective impressions are that the 161 and the 178 have the same musical character and that while it's pleasant, it's not a distinctive or memorable character. I've always felt (from 2007 actually) that those two were good pianos for the asking price through, meniscus or no meniscus. My impression of the 218 is that it is distinctive, memorable, and just a very fine piano period.

I wasn't throwing a bucket of cold water at Hailun, although I do find their dodge of the term laminate particularly amusing and creative. My point was that only a maker who embraces laminate technology in a way that does not obscure it and takes the risk of putting it to use in some of its more expensive models can do much to advance the cause of laminate boards among people who have been trained by industry marketing for decades to worship the solid spruce board.


That is a great post. In my opinion it is basically entirely accurate. My sincere thanks, Turandot.

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Originally Posted by turandot
...My point was that only a maker who embraces laminate technology in a way that does not obscure it and takes the risk of putting it to use in some of its more expensive models can do much to advance the cause of laminate boards among people who have been trained by industry marketing for decades to worship the solid spruce board.
Agreed, except for the finger pointing at industry marketing. I think laminate's (perhaps undeserved) bad rap does not stem from industry propaganda, but rather from the tens of thousands of 1960 and 70s vintage consoles still out there with "Lifetime Garantee" soundboards made of a medium quality door skin, which sound like crap. That proof is in the pudding.

It is one of the problems of long-lived consumer goods such as pianos. Even if quality is raised up to a high level, those 20, 30, 40 year old mistakes are still out there, hindering a company's (or product's) rise of reputation. Perfect analogous example: plastic (oops, did I say that? I meant composite) action parts.


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The discussion is in my mind not about the alleged superiority of certain components but the HONESTY and transparency about a manufacturer's own statements.

If you can't believe what a maker says, who can you then?

Norbert



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Originally Posted by Norbert
Quote
Hailun is stating they are NOT using multi-layer wood.


If this is indeed true then it is incorrect - they clearly not stating fact.


Well, that's how I read Ginster6's post.
Ginster6, is the quoted text Hailun's or yours? Particularly, the last sentence emphasized by me

Originally Posted by Ginster6
I finally got call back.. from Hailun, China. did not talk the Mr. Chen. but another person in there.

Hailun 178 and under..
solid spruce core, veneer top and bottom.

hailun 198 and over..
solid spruce all the way.

reason for this. 178 and under usually purchase for home. so they veneer it so it was be used all over the world and soundboard will not crack or deform, from weather issues. (longer lasting).
note... it is not multi-layer wood compress together (laminated) .


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