A MISSION REALIZED

I have always enjoyed the beautiful work of my mentors and colleagues, creating beauty and precision within an artistic setting.   It is an honor to be a part of the whole and carry on our honored and noble ethics and principals exploring  our past as well as  opening  new paths for the future in piano technology.  

There are so many fine craftsmen and fine pianos  supplying  me with inspiration.  Piano technicians not only study and analyze the past,  but utilize science, technology and innovations to enhance  piano performance possibilities, opening a whole new experience for performers and listeners alike.  

It is  this paradox  of preserving the past while modernizing and improving utilizing improved , modern techniques and knowledge  that makes our profession so demanding and rewarding.
As concert piano technicians we combine art, science, and craftsmanship to bring a piano from a good instrument to an extraordinary instrument.

For me, it has always been fascinating being involved in the world of tone and touch.  Daily we work with so many different materials :  felts, leathers, steel, wire, many types of woods, glues.
When working in the realm of sound, sound colors and textures function as our canvas, and chemistry combined with an array of techniques and tools our paintbrush.  Extreme attention to detail is the hallmark of our work.   Attention to certain subtle sound qualities and nuances is what we involve ourselves with once we bring the piano up to its proper performance level.
In striving for perfection, beauty, art and craftsmanship, I found my niche as a concert piano technician and piano restorer.  I have enjoyed a career which spans over 3 decades and had the great pleasure and responsibility working with some of the world’s finest pianists, piano builders, concert halls, recording studios, and manufacturers.
 
After working in the Famous Steinway Hall Basement in the 80’s, where many of the world’s most demanding artists arrived almost on a daily basis, and working in those days in their specialized action restoration shop as an action specialist, tuner and technician, I honed my skills learning from staff, colleagues, and great pianists.
 
After working for 5 years in the Steinway Hall basement, I worked as an independent contractor for Steinway & Sons as a liaison for their Steinway dealers and contracts in Latin and South America. This job enabled to bring my skills and talents to a broader range of people, working with all the major performing venues, traveling with symphonies and artists, assisting with public relations and sales for the various Steinway dealers in the many countries in the region.

As part of this job, I was able to initiate a training program for local technicians enabling them to follow through with regular maintenance and improve their technical skills. I have always enjoyed teaching and found this aspect of my work very gratifying.

After traveling for 12 years throughout Latin and South America and maintaining a small but loyal clientele in New York City  twice a year, I  moved back to New York to work as the Director of Technical Services for America’s largest independent piano restoration facility located just a half an hour north of New York City, Faust Harrison Pianos.  It was in this factory environment I began to experiment and change specifications on the pianos delivered to our shop.  I found by changing geometry and other minute changes within the design and action framework, the pianos responded better to the touch and improved the range and sound of the piano. 

Pianists were commenting the pianos were easier to play, they felt less tired, and commented on the swiftness and responsiveness the actions had.  The changes in the actions worked particularly well with pianists who had problems with their hands or had damaged tendons or nerves.

Experiments were made working with the tonal palate and the various techniques involved. I began to develop  a broad range of approaches and techniques finding I could adapt to almost any kind of situation or requirement the piano or client demanded. I was very happy in my laboratory.

After six years at the factory, I accepted a position in the famed Klavierhaus in New York City. I joined Klavierhaus as the Director of Technical Services as well as Director of the Concert and Artist division around three years ago.  Pianists from around the country contacted us to update and redesign their actions and pianos to suite their special needs.  Knowing we play a part in the success and satisfaction of our clients makes all the hard work worthwhile.
With the Lord’s blessings, once again I found myself as part of a team of world class restorers, technicians, assisting today’s leading pianists.

Today, I have my own collection of rebuilt Steinway pianos, a small fleet of concert pianos available for sale, and one for concert rental.  I work as a concert piano technician, service my private clientele, lecture, offer seminars to pianists and technicians, purchasing consultation, and piano brokerage services. I am President of Arlan Harris Productions, and through www.piano-seminar.com  offer  video production, audio production, concert and recital promotion and educational seminars.