You pay for the model number
Yamaha prints GHC keyboard with matte black keytops identically across four pianos. Roland prints its line across four more. The money between them is real — it just is not under your hands.
Four Roland digital pianos. Six hundred dollars between the cheapest and the dearest. Roland prints the same keyboard line on all four, character for character. That one fact is worth more than every review you have read this year, and this guide is forty-four pages of facts you can check the same way.
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88 keys (PHA-4 Standard Keyboard: with Escapement and Ivory Feel)
88 keys (PHA-4 Standard Keyboard: with Escapement and Ivory Feel)
88 keys (PHA-4 Standard Keyboard: with Escapement and Ivory Feel)
88 keys (PHA-4 Standard Keyboard: with Escapement and Ivory Feel)
One action. Four prices. Six hundred dollars buys speakers, sockets and polyphony — and nothing whatsoever under your fingers. Copied from Roland's own specification pages, not from a review.
Three things cost ordinary buyers real money every week, and not one of them appears in a shop demonstration or a spec comparison video.
Yamaha prints GHC keyboard with matte black keytops identically across four pianos. Roland prints its line across four more. The money between them is real — it just is not under your hands.
One maker sells you a complete replacement keybed as a single part number. Another states in writing that it will not sell parts to the public at all. For a third, the part does not exist — not out of stock, absent from the catalogue.
A second-hand piano from a great maker can carry no factory warranty at all, in the maker's own words. And the marketplace listing that saved you eighty dollars may have quietly cost you the cover.
Played as a boy, stopped at seventeen, and is sixty-one now with time and a room for it. Needs to know which action his hands will still be happy on in an hour.
Never owned one, does not read specifications, and is about to be sold a cabinet when what he wanted was a keyboard. The weight test alone pays for this book.
Has a starter board and has been told he needs to spend three thousand. Sometimes true. Usually not, and the chapter on what that money actually buys says which.
A piano arrived from a parent's house. Part three tells him whether anyone can still get parts for it, and part five why the factory warranty did not come with it.
Every figure in here was read off a manufacturer's own page, a warranty document or a parts catalogue, and dated. Where a number is not published, the book says so instead of borrowing one.
The rules that decide every purchase below three thousand dollars, and the one that decides the ones above it.
Both identical-string tables, printed in full, with the price each model carries and an itemised list of what the extra money really buys.
The parts matrix. Keybed part numbers and prices, who sells to the public, who refuses in writing, and which maker has no part number at all.
Term by term, by brand: who covers labour, who pays the postage, who sends a technician to your house — and which exclusion is written to cover key noise.
The clause that voids factory cover on a used instrument, quoted in full, plus the published list of sellers one maker tells you not to buy from.
Minimum advertised price and the one word in the rule that changes everything. The trade-in mechanism. And why a bigger discount often means a worse deal.
Honestly. Three things at that price are genuinely worth the money and the rest is the cabinet — including one console that shares everything with a cheaper one.
The weight test, the keybed search, the questions to ask about labour and freight. Print them, fold them, take them to the shop.
"Remove eight screws marked S20A. The keyboard assembly can then be removed." — factory service manual, page sixteen
One bolt-in module, around three hundred and eighty dollars, and the same part number covers three different pianos. Boards and contact strips are stocked new.
"Kawai spare parts are not available to the general public." — Kawai's own support page
A fine instrument. But when something fails you depend on the maker rather than on any competent technician, and that is worth knowing before it happens.
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Mostly digital, because that is where most of the money is wasted and where the documents are clearest. Two parts cover acoustic buying — the warranty clause that catches second-hand buyers, and the discount-off-list chapter, which is entirely an acoustic problem.
Some of them, quickly. That is why every price is dated on the page it appears on, and why the book is built to teach the method rather than the numbers. The keybed search works in five years. The four-hundred-and-ninety-nine-dollar figure will not.
None. No sponsors, no brand ever paid for a mention, and nothing in here earns a commission if you buy it. That is also why some well-liked instruments come out badly and one unfashionable one comes out on top.
Parts three and four are, and they are the ones owners write to me about. What breaks first, what the part costs, whether your maker will sell it to a technician, and what your warranty actually covers as opposed to what the shop said.
No. Every technical claim is translated into what it means for your hands, your room or your wallet, and the ten printable cards are written to be used by somebody standing in a shop who has never read a spec sheet in his life.
Read it tonight. Walk into the shop tomorrow knowing which questions have documented answers and which ones nobody can answer at all.
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