Piano geeks, digital-piano zealots, and members of the piano industry in general often speak of the imminent demise of the acoustic vertical, aka upright, piano. They talk about how inexpensive small grand pianos have become, and about improvements in the simulated grand-piano actions and concert-grand sound samples of digital pianos. Quite correctly, they point out the inherent differences in how sound propagates from a grand piano compared to the “boxed-in” design of a vertical, and of the significant design differences between vertical and grand actions: Assisted by gravity, and able to repeat without their keys having to completely return to rest position, grands are typically capable of faster, more reliable repetition than verticals, which rely on springs to assist in resetting the action.
钢琴爱好者，数字钢琴狂热分子和钢琴行业的成员通常都会谈到声学垂直，即直立的钢琴即将消亡。 他们谈论小型三角钢琴的价格如何，以及关于数字钢琴的仿真大钢琴动作和音乐会盛大声音样本的改进。 非常正确的是，他们指出了与三角钢琴的“盒装”设计相比，三角钢琴声音传播的固有差异，以及垂直和大动作之间的重大设计差异：辅助重力，并能够重复 没有他们的钥匙必须完全返回到休息位置，大奖赛通常能够比垂直运动更快，更可靠的重复，这些运动依靠弹簧来协助重置动作。
Allow me to offer an opposing and admittedly snobby viewpoint. The smallest grand pianos, especially those that are wider than they are long, tend to look awkward and toylike. They tend not to have smooth tonal transitions between registers, especially from their plain-wire treble strings to the copper-wound bass strings. With only a couple of exceptions (see Piano Buyer’s “Staff Picks” for examples), their bass registers are typically poor, with upper-bass bichords (notes with two strings) whose strings are sonically mismatched, and low-bass monochords (one string per note) whose fundamental pitches are unclear or entirely missing. Entry-level and midrange digital piano actions that simulate the feel of a grand piano have certainly improved, but I don’t know a professional pianist who really thinks playing one of these actions is the same experience as playing an acoustic piano. Improved sound samples can sound really good through headphones, but the speaker systems of digital pianos can be disappointingly unrealistic compared with the resonant, visceral, decidedly analog experience of playing a good acoustic piano. However, save for a few low-production, esoteric designs that can be found only in expensive instruments, I can’t refute the fact of the inherent limitations of the standard vertical-piano action.
At this year’s National Association of Music Merchants (NAMM) trade show in Anaheim, California, parent company Samick invited me to sample their new Seiler model ED-132M, a tall (52") vertical piano from this well-known manufacturer’s midrange line. This piano was equipped with Seiler’s proprietary Super Magnet Repetition (SMR) action, an option that had previously been available only on their best vertical model at a much higher price.
SMR is a wonderfully simple system that requires no additional maintenance and adds no moving parts to the vertical piano action. Its principle of operation involves magnets of opposed polarity that move closer to one another when a key is pressed and the action cycles. One magnet is attached to the jack, the other to the catcher (see illustration). As the jack pushes the hammer into motion and reaches the point of “escapement” (power release), the jack’s magnet gets close enough to the catcher’s magnet to produce an opposing force that resets the jack more quickly when the key is released.
SMR是一个非常简单的系统，不需要额外的维护，也不会增加立式钢琴动作的移动部件。 其操作原理包括极性相反的磁体，当按下按键并且动作循环时，磁体彼此靠近。 一个磁铁连接到顶杆，另一个连接到捕捉器（参见插图）。 当顶杆推动锤子运动并达到“擒纵”（动力释放）点时，顶杆的磁铁足够接近捕捉器的磁铁，产生反作用力，当松开时，顶杆可以更快地复位。
The principle of the system was demonstrated to me at the NAMM show by Joe Swenson, Samick’s head technician for the U.S. market. With the case disassembled, I could see the parts, and was even able to cycle them by hand and feel the moment when they got close enough to trigger the magnetic effect. Swenson explained that since the 1990s, when the SMR action was introduced, its reliability has been improved by further securing the magnets to the wooden parts with dado joints, in addition to the glue bonding previously used.
该系统的原理在Samick美国市场的技术负责人Joe Swenson的NAMM展会上向我展示。 随着案件的拆解，我可以看到这些零件，甚至可以手动循环，感受到它们足够接近以触发磁性效应的时刻。 Swenson解释说，自20世纪90年代以来，当引入SMR动作时，除了之前使用的胶合粘合之外，通过进一步将磁体固定到具有陶瓦接头的木制部件，其可靠性得到了改善。
With the explanations out of the way, I was able to get after-hours access to Seiler’s room at the NAMM show—away from the crowds, noise, and company representatives—to see whether this system made a real improvement or was just a lot of hype. Extremely helpful for this test was the presence, right next to the ED-132M, of a brand-new model ED-132—the same model, but without the optional SMR action. If you’re skeptical that the regular piano may have been poorly regulated for the purposes of my review, I can verify that a dealer liked it well enough that, by the show’s second day, the piano was marked “sold.”
除了这些解释之外，我能够在NAMM展会上从人群，噪音和公司代表那里得到Seiler的房间后的访问时间，看看这个系统是否真正改进或者只是很多 的炒作。 对这次测试非常有帮助的是ED-132M旁边的一款全新型号ED-132 - 同样的型号，但没有可选的SMR动作。 如果您怀疑普通钢琴可能因我的审查目的而受到管制不力，我可以确认一名经销商非常喜欢它，因此在该节目的第二天，钢琴被标记为“已售出”。
For the next hour, I just practiced. I tried bits of whatever was in my fingers—snippets of a J.S. Bach keyboard concerto, some Albéniz, the trilled opening of Debussy’s L’Isle Joyeuse, and an ornamented early-classical sonata. The ED-132M was unfazed, and my playing of these pieces, which tend to demand a lot from an instrument, was never hindered by an inability of the action to repeat quickly and reliably. At some point I turned to just playing, quickly and evenly, repeated note sequences with fingerings that intermediate and advanced pianists use all the time: “3-2-1” or “4-3-2-1” patterns on the same note. On the regular ED-132 I got fairly consistent repetition throughout the instrument’s range, but occasionally I’d lose the attack of one or two consecutive fingers because the action couldn’t reset as fast as my fingers demanded—a problem experienced with most vertical pianos, and even with grands that could be better regulated. On the ED-132M, however, I experienced reliable repetition with both my dominant and nondominant hands, from the low bass through the top of the treble. The SMR system definitely improved one of the most commonly cited shortcomings of the vertical piano.
在接下来的一个小时里，我刚刚练习过。我尝试了一些我手指上的东西--JS片段。巴赫键盘协奏曲，一些阿尔贝尼兹，德彪西的L'Isle Joyeuse的颤音开场，以及装饰早期古典奏鸣曲。 ED-132M没有受到任何影响，而我演奏的这些乐曲往往需要很多乐器才能完成，因此无法快速可靠地重复该动作。在某个时候，我转向快速均匀地演奏，用中指和高级钢琴家一直使用的指法重复音符序列：同一音符上的“3-2-1”或“4-3-2-1”模式。在常规的ED-132上，我在整个乐器的范围内都得到了相当一致的重复，但偶尔我会失去一个或两个连续手指的攻击，因为动作无法像我的手指所要求的那样快速重置 - 大多数垂直钢琴，甚至可以更好地管理大奖。然而，在ED-132M上，我经历了从低音到高音顶部的统治与非统治双手的可靠重复。 SMR系统绝对改善了立式琴最常引用的缺点之一。
In every other way, the Seiler ED-132M sounded, felt, and looked like any other tall Seiler vertical, with a satisfying evenness of timbre and fullness of tone, particularly in the low bass, that most small grand pianos can’t match. The two ED-132 models are facsimiles of the company’s completely German-built and widely respected SE-132; however, the ED-series pianos are built in Samick’s Indonesian factory using materials sourced both from Germany and Asia, for significant cost savings. As with their ED-186 grand, I’ve found well-prepared examples of the ED-132 able to credibly duplicate the clear, distinct tone of the higher-priced German model on which it’s based.
从另一方面来说，赛乐尔ED-132M听起来，感觉和看起来像其他任何一个高大的赛乐尔立式一样，具有令人满意的音色和丰满的音色，特别是在低音低音时，大多数小三角钢琴都无法匹配。 这两款ED-132型号是该公司完全由德国制造并广受推崇的SE-132的击弦机; 然而，ED系列钢琴是使用来自德国和亚洲的原材料在Samick的印度尼西亚工厂内建造的，因此可显着节约成本。 就像他们的ED-186一样，我发现ED-132的准备好的例子能够可靠地复制它所基于的高价德国型号的清晰明确的基调。
We live in an era in which downsizing of living spaces is common. As piano owners in the U.S. market consider the possibility of smaller living spaces and music rooms, Seiler’s SMR-equipped instruments can provide a means of enhancing the action performance of a vertical piano in a way that requires less of a compromise when compared to a grand. As this premium technology trickles down to mid-level models at affordable prices, more customers can take advantage of a unique option worth their serious consideration.
我们生活在一个缩小生活空间的时代很普遍。 由于美国市场上的钢琴拥有者考虑到小型生活空间和音乐室的可能性，赛乐尔SMR装备的乐器可以提供一种方式来提高立式钢琴的动作表现，而这种方式不需要妥协。 随着这种高端技术以低廉的价格流入中级市场，更多的客户可以利用一种值得他们认真考虑的独特选项。
Enjoy music , Enjoy life !