I speak of upright pianos only in this article, because I have had
a lot of experience in this area.

Solenoid-played pianos do have the capability of performing as well
as a pneumatic systems, provided that a few modifications are made
to the system.

The QRS Pianomation system is a very rugged system and extremely
dependable.  However, I totally disagree with how the manufacturer
suggests that they should be installed, particularly in an upright
piano.  This is not a put-down, by the way; I realize that this system
was made for the mass market, and few people would be willing to go
to the trouble that I do when I install these things.  However,
it's well worth the trouble, and greatly improves the Pianomations
expression.

The power curve of a pneumatic is very different than a solenoid.
Pneumatic travel can be somewhat limited by stop rails and lost motion
devices, and still operate very solidly throughout a very wide range of
suction levels.  Conversely, a solenoid that is restricted in movement,
even by 1/16", greatly decreases it's impulse and power, particularly
at soft levels.  That is where big mistakes are made, simply by using
installation methods that are acceptable for pneumatic actions.

Whereas the note pneumatic is at it's strongest point fully open,
the solenoid is at it's weakest point because of the armatures greater
distance from its field.  The solenoids maximum lift becomes the
greatest when the armature is almost even with it's field coil, the
inverse effect that pneumatics have.  This calls for a different
installation procedure if the piano is to ever compete with the
pneumatic systems.

The reason that solenoid systems do not perform as well as their pneu-
matic counterparts in upright pianos is the way they are installed --
under the keyboard.  Not only do you throw the piano seriously out of
regulation, there is just no way a slot can be cut in the upright keybed
and the back rail relocated, without altering the touch of the piano.
Many times the plate supports have to be cut off, and that is just
asking for a warped keybed and constant regulation problems for the rest
of the piano's life.  In addition, this is the absolute worse place for
an engagement point for a solenoid player action.  Here is why.

First, if you would measure everything carefully, you will find that
the rear of the keys in an upright has the least amount of travel than
any other place on the action,  so the solenoid travel will have to be
severely restricted.  They will never develop their full impulse down
there.  If you attempt to lower the rail to bring the armature closer
to the field coil, there is not enough travel in that area to allow the
solenoid to gain enough inertia to operate the backchecks during soft
playing.

It is _never_ necessary in any upright with any type of internal
player to have its keys "in circuit".  The "driven" piano keys also add
un-needed weight and inertia.  Even though it's a very small amount,
remember, we are dealing with under-powered solenoids here, and classi-
cal music.  It's also not uncommon in an upright for the sticker to
"float" above the capstan during a quick repeated note passage (ask
any pianist about this), resulting in a slurred musical passage.

Solenoids thus installed also tend to push the keys up on their center
rails, wearing them out very quickly.  The old  pneumatic player
designers were well aware of the problems with this type of installa-
tion, and decided that a stack should be located on top, driving the
whippens.

The common statement you hear is:  "I heard a solenoid player and it
wasn't near as good as a old player piano."  With the player installed
under the keybed, that's a true statement!  There are too many things
working against it.  Like Craig Brougher stated, it's relegated to
"background music" status.  Sure, it will play like that, but you're
not getting the best this system has to offer you!

Here is what I did.  I removed the Pianomation from under the keybed
and operated the solenoids, measuring their natural unrestricted
movement.  I then measured the full throw of the whippen and allowed
1/32" for lost motion adjustment.  I then prepared a lever for each
solenoid, mounted and hinged in such a manner that when the solenoid
has full travel, it is exactly the same distance the whippen travels
plus 1/32" for after-touch.

The difference is astounding!  The Pianomation expresses from whisper
soft, to string-breaking loud, well within the range of our 52"
Foster.  It's well-balanced and exciting to hear, just as good as any
_upright_ pneumatic reproducer I have heard.  It would not be fair to
compare it to a grand piano, because the upright piano action by design
cannot compete with a grand action.  But the Pianomation, as I have
installed it, gives my piano action all it can handle, and then some.
My unit makes "foreground music", not background music.

The roll scans by Wayne Stahnke, played on Richard Brandle's WindPlay
program, are simply _outstanding_ on my Pianomation unit.  Like the
paper roll, WindPlay displays the lyrics.

My point is that, if the Pianomation is installed with the same care
that an Ampico is rebuilt, you will find that it's one of the best
modern systems made and will give you complete musical satisfaction.
All it takes is an understanding how solenoids work, and to install
them in the piano in such a way to work properly.

Andy Taylor
Tempola Music Rolls.