Our pre-owned Yamaha and Kawai upright and grand pianos are certified by JUPA (Japanese Used Piano Association) and have received a grade A rating in the Action, Soundboard, Pins, Keys, and Body.
Pianos Fully Reconditioned by Registered Piano Technician Owner.
Pre-owned, Hand Selected Yamahas & Kawai Pianos
10 year limited time warranty and one free tuning within 6 months! (price restriction applies)
We deliver to you for free!
(distance & price restriction applies)
Quotes from Larry Fine who is the author of “The Piano book”
“Pianos that have been reconditioned or rebuilt by a competent piano technician and are in
excellent condition are actually better than new ones, carry a similar guarantee, and cost almost
“If some of you get the idea that buying a piano is likely to be a dreadful experience,
unfortunately, some of you may be right. Faced with a shrinking piano market and increasing
competition, some salespeople resort to tactics that are quite irritating, if not downright
unethical. There are also some great piano stores around; the difference between the two can be
“In Japan, engineering is a highly respected profession and factory management is elevated to a
high art. The Japanese factories are among the most automated anywhere, and Japanese pianos
are among the most uniformly made. This precision, and the intelligence with which the pianos
are designed, especially for servicing, are the chief assets of Japanese pianos.
The Yamaha U series have solid spruce soundboards, the Yamaha B series have laminated plywood
soundboards. Top quality spruce is getting more scarce and expensive all the time so it is no surprise
that more and more of the cheaply made pianos being produced by many manufacturers are now made
with plywood soundboards.
“Most [new] pianos required at least four tunings in the home during the first year of
ownership. An inexpensive piano that is not tuned enough in the factory, even if tuned by the
dealer, may go disastrously out of tune in your home and need several remedial tunings (paid
for by you) before it will even begin to hold its tune.”
“The size of a piano is probably the single most important factor influencing its tonal quality.
The longer strings, particularly in the bass section of the larger sizes of grands and verticals,
results in greater resonance of tone and in a harmonic content that is most pleasing to the
listener. The smaller the piano, the worse the tonal quality, especially in the lower bass, and
also in the tenor, just above the bass. An additional factor, though, makes the question of size
even more important: because the tonal quality of small pianos tends to be poor, the people
who buy these pianos are usually more interested in the styling and looks of the case than in the
quality of the instrument inside the case. Therefore, manufacturers invest more of their money
in the appearance of the instruments than in its quality. The result is that, quite apart from any
effects of acoustical laws, smaller pianos are often more poorly built than larger ones.”
“The factory preparation of Yamaha pianos [has] declined somewhat in recent years”
“I would suggest having all the action screws tightened in Yamaha verticals after 6 months or
so of use to avoid the clicking sounds caused by loose flanges and, sometimes, by a loose letoff
“A small number of Yamaha consoles and studios [small pianos] had keys that were so severely
warped as to make levelling and regulation impossible.”
This time regarding new Yamaha grands…
“Many technicians complained about the tone quality of some Yamaha grands.
The 5ft 3in
GH1 and GP1 were both heavily criticised for poor tone and for tuning difficulties due to poor
Made in 1975 – 1985 “The Golden Era”
U1 and U3 pianos from this period are bought by piano shoppers who do their
research and visit several piano shops to get a balanced view of what is available. They reject the
1960s pianos and they steer clear of the early 1970s pianos and their musical ear leads them towards
the famous “Golden Era” pianos. The bass section is warm and smooth, the middle section is full of
warmth and energy and the treble section is crisp and brilliant but without being thin or tinny.
You are left wondering how all of this is possible in something made from just iron, wood and felt.
The answer of course is no secret, it is the result of over 300 years of piano manufacturing and striving
to always get the best quality of tone and the best quality action, cutting no corners and using only the
best materials and the most skilled workers. The “Golden Era” 10 year period is not set in stone and in
practise it should also encompass pianos built 2 or 3 years either side of those dates.