An image of Arlan working on a Piano
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. 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 to be 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. I have enjoyed a career that spans over three decades and had the great pleasure and responsibility of 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 ’80s, 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 five 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 me 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 the 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 palette 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. Pianists from around the country contacted us to update and redesign their actions and pianos to suit 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 technicians, assisting today’s leading pianists.

Currently, I am no longer in a team but have my own business as a piano technician, concert technician, and tuner. Piano brokering services are provided as well for people who need to sell their pianos and people who are interested in purchasing a piano.

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A Legacy of Quality

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Over 30 Years of Experience
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Steinway Pianos
Latin America and New York
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Baldwin Piano
Denver and New York
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Faust Harrison Pianos
New York
Technical Director
An image of a woodtone concert pianoKlavierhaus Pianos
New York
Technical Director