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Oct 06 2021 
Disability Awareness Training for Music Retailers
Shopping Without Barriers –Disability Awareness Training for Music Retailers
Did you know that £267 million is lost every month by inaccessible high street shops? Music shops that get this right can attract new customers and maintain customer loyalty.
Disability Awareness Training, developed by the MIA, Creative United, and Attitude is Everything focuses on the particular needs of disabled customers that visit music shops and websites.
The course will provide effective techniques that will help you to:
- Understand the challenges that disabled people face while shopping
- Adapt your sales techniques to meet the needs of disabled people
- Increase loyalty and repeat business – if disabled people feel comfortable in your shop, they are much more likely to come back
What you’ll learn
Led by disability expert Gideon Feldman (Attitude is Everything) the training consists of two modules:
Module 1‘s informative videos available to view on demand and include a thorough background to the issues faced by disabled people in the UK, looking at the Equality Act, the social model of disability and why it matters.
Module 2 is a live session over Zoom, and is all about creating a welcoming and accessible retail environment for disabled customers. You’ll learn about how to identify and address the needs of a disabled customer, best practice communication styles and work through case studies featuring real access-related scenarios.
How to sign up
- Register for Module 2 (live session) on Eventbrite
- You will be sent a link to an online platform where you can register, make payment (if applicable) and complete Module 1 in advance of the live session
- Attend Module 2 on your chosen date
Module 2 live session dates
Please click on the date of your choice to book
Here’s a view from a customer perspective…
I like to have the latest equipment, so that means I’m always shopping. As a visually impaired person it can be a bit challenging when I visit music stores…although the sales staff are quite knowledgeable, they may not have much experience in dealing with someone like me.
Jason Dasent, audio engineer and music producer, talks about why the training is a good opportunity to serve and retain customers like him:
https://www.youtube.com/watch?v=Hf5U36tSM-g
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Sep 15 2021 
Music disability charity OHMI celebrates ten years of inclusive music-making
Music disability charity OHMI celebrates ten years of inclusive music-making
Disabled music charity The OHMI Trust, is celebrating its tenth anniversary in matching disabled musicians with the adapted instruments they need to make music.
The charity was established in 2011, with no money, only two trustees, and two volunteers. Fast forward ten years, and this small but ambitious charity has much to celebrate.
It is unique in the breadth of support it offers to disabled child and adult musicians, with its impact felt across teaching, research and development, and awareness raising. The charity’s biennial competition, which supports the development of musical instruments that can be played without the use of one hand or arm, attracts entries from across the globe. Its popular Music-Makers and Inclusive Access to Music-Making programmes gain momentum each and every year, reaching new musicians across England and Wales. Its hire scheme offers an impressive 300 instruments and pieces of enabling equipment; a number that will only grow through the development of further instruments through OHMI’s research partnership with Queen Mary University, London and Birmingham City University. It is this wide-ranging work that led to the charity receiving recognition in The House of Lords.
These impressive milestones will be marked at OHMI’s 2021 Competition Awards and Tenth Anniversary Celebrations, taking place on Saturday, 25th September. The event, which will be held at Aston University, will also be live-streamed from 6pm BST, and is expected to attract musicians and representatives from musical organisations from around the world.
The event will include performances from the talented OHMI musical community, as well as an announcement on the winners of the 2021 Competition, along with demonstrations of their equipment.
Melissa Johns, British actor and disability activist, best known for her roles in Coronation Street, BBC drama Life, and, most recently, Celebrity Masterchef, will be hosting the event.
As Rachel Wolffsohn, OHMI’s Manager, explains,
“Melissa is a proud champion of the rights of disabled people, so she was the perfect choice in helping OHMI to bang the drum for inclusive music-making. Hosting the event, for the first time, as a blended live and broadcast event, will allow us to share the celebrations with a global audience, reflecting the truly international nature of the competition entries over the years.”
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Aug 31 2021 
Learn To Play 2021
#LearnToPlay
After delays and cancellations due to the dreaded C, we’re very excited that Learn To Play is back this year 🎉
During Learn to Play 2019, over 10,000 participants received a free taster music lesson together with information on buying an instrument and finding local teachers, groups and other fellow musicians!
Not sure what to expect? Here’s a little round-up of what it is and how to get involved…
What is Learn To Play?Organised by Music For All, Learn to Play is a national group of events where venues across the UK such as music shops, performance spaces, libraries and educational centres offer free taster music lessons.
When is it?
Saturday 25th and Sunday 26th September 2021.
Who can get involved?
Whether you’re a budding or lapsed music maker you can start your musical journey by attending a Learn to Play ’21 event! Learn To Play events are open to anyone and everyone who wants to take part.
What does it cost?
It’s free and open to the public.
Where does it take place?There are events happening in venues up and down the country. Look for an event to join near you here: musicforall.org.uk/learn-to-play
This year, there will also be an online programme so if there isn’t a venue close by you can still join in!
How can I get involved?
Either pop to your local venue and take part (some will be asking you to book a space in advance so do check ahead) or join in online.
All necessary Covid safeguards will of course be in place.
If you’re representing a venue, you can set up your own event and list it here: musicforall.submittable.com
🎹 Vale Pianos 🎹
Our very own Take it away music shop member Vale Pianos are taking part in Learn to Play on Saturday 25th September!
They are offering free lessons in their wonderful shop in Worcestershire.
Have you always dreamt of playing the piano or keep promising yourself that one day you’ll go back and continue where you left off? Then make it happen this the year! Playing the piano is a wonderful hobby no matter what age you are.
This is a great opportunity to have an informal, sample lesson for you or your child, the lessons are provided by Richard who has a relaxed approach to teaching.
Piano lessons will be taking place between 10.00 am and 5.00 pm.
To book your lesson, please phone Vale Pianos on 01386 860419 or email info@valepianos.co.uk
Whether you’re making a return to music or trying instruments for the first time, we’d love to hear how you get on!
Tag us on the day and show us how you’re celebrating:
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Aug 10 2021 
How to restring your classical guitar
How do I restring my classical guitar?
Has your classical guitar started to slip out of tune more quickly? Or maybe the tone isn’t as bright and alive as it was a few months ago? …and perhaps the fretboard isn’t looking as clean as it should…
These are all signs that it’s time to restring your guitar! Our Take it away music shop member Forsyth has put together a step-by-step process on how to do it yourself.
They say: “Restringing a nylon-strung guitar is a little fiddlier than a steel-strung acoustic but it’s still an easy skill to learn. In this post, we’ll cover how to approach changing the strings on a traditional classical guitar.”
Remember, practice makes perfect!
1. Firstly, we need to get the old strings off. Depending on how they were put on previously this can take a few minutes!
Loosen the tuning pegs until the strings become free.
2. It’s a lot easier at this end! They should be easy to pull loose once the tension is taken off:
3. Ok, time to tie some knots! First, pass the end of the high E string through the hole in the bridge heading away from the neck so that the string end pokes out of the back of the bridge.
The length of string behind my thumb and forefinger is the long part that we’re going to tie on at the other end:
4. Now we’re going to bring the end of the string back on itself.
Notice that the end of the string goes to the treble side of the long length of string (or behind the long string if you’re looking at the guitar as in the photos:
5. And round it goes to make a loop passing around the long length of the string:
6. Now we’re going to wrap a couple of turns of the end of the string around on itself. Over the top and underneath:
7. And again…
8. Lastly we just need to pull the knot tight and it will lock in on itself. That length of spare string you can see in the picture we’re going to tuck underneath the loop we make for the B string for a little extra snugness:
9. Don’t worry, you’ve done the difficult bit! There are a few ways to tie the strings on at the other end so I’ll show you how I do it. The string goes over the roller, underneath and up through the hole:
10. Now I’m going to pass it back through the hole, trapping the string in the loop:
11. Pull it back through the hole and it locks the string firmly in place:
12. Next we just need to wind the string onto the tuner. I’ve left a bit of slack on the string which needs winding on and then we need to bring it up to pitch.
Typically on classical guitars, the two E strings wind outwards and the other four inward to keep the break angle from as the string passes over the nut reasonably shallow. Here’s the E string winding its way:
13. The bass strings are a little easier to tie on. If you have a square edge on the back of the tie block this single loop is enough to keep them anchored with the back of the loop over the edge of the tie block.
(If the edge is worn and the string keeps sliding back you can tie them the same way as the trebles):
14. Here’s a view of the finished tie block. You can see clearly the loop used on the bass strings, and that each string is tucked into the loop of the next string along.
I’ve trimmed the ends so that they’re not sticking out or trailing against the soundboard, which can be a cause of erroneous buzzing. It looks neat and should anchor the strings nice and strong:
16. And here’s the finished headstock end, also trimmed nicely:
It’s a little fiddlier than a steel string but give it a couple of goes and you’ll find you get the hang of it pretty quickly!
Forsyth is a Take it away music shop member based in Manchester that offers an extensive Sales Departments for sheet music, classical and jazz recordings, acoustic pianos, digital pianos, guitars, orchestral instruments and all accessories!
They also have piano and instrument repair services with our own tuners, technicians and luthiers.
Find out more and get in touch by visiting their website: www.forsyths.co.uk
Tell us what you think @takeitawaymusic
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Jul 23 2021 
Technology in Music Education
Welcoming TiME to the Take it away Consortium
We’re thrilled that TiME: Technology in Music Education has joined the Take it away Consortium, a group of leading UK music organisations that are looking at ways of making music inclusive and accessible to all.
We sat down with Kate Rounding, Development Director at TiME, to learn more about the organisation’s beginnings, why access to music-making is important to them and more!
How did TiME come about?
TiME is an alliance of music industry organisations, formed to raise awareness of the great potential of Sound and Music Technology across all the Arts and in the community. It was formed by David Ward and Richard Llewellyn as a community interest company (CIC) in 2019 with the aim of providing educators with the skills, knowledge and tools needed to support students and emerging professionals.
We connect music industry professionals, music educators, the informal music education sector and professionals in the Special Needs and Disabilities (SEN/D) areas. Together we focus on actions to enhance and promote the value of music technology to the economy, the music industry, and in education.
TiME is also affiliated with its sister organisation ‘Joint Audio Music Education Support’ (JAMES), the recognised Public Sector Regulatory Body (PSRB) for the Recording, Music Production and Media industries. We thus engage with many Universities and their students.
Our job in TiME is to break down the barriers to exploring the great potential of music technology and to bring communities, organisations and opinion formers together to raise awareness of this potential.
How do you work with schools and hubs across the country?
TiME connects with music hubs and music educators from Early Years, all the way to University level across the UK. Through our work, we support hubs to make direct connections with other organisations, education establishments and teachers to aid the development of their inclusive music provision through the use of music technology.
Our recent series of online conferences ‘Connectivity’ was hosted in partnership with Leicester Music Education Hub and UK Music and facilitated discussions between over 30 different organisations and over 100 music and education professionals, providing insight into topics such as how technology can support equitable access to music-making for SEN/D learners and information on the range of careers available across the music industry.
You can catch up on the wide range of discussions we had in each session here: techmusiced.org.uk/page-2/connectivity.php
How would you like to see music education change in the next 10 years?
It is more important than ever to support music education in all its forms, whether that is within schools, music hubs or across the community. The potential of SOUND and music technology is huge in all aspects of music-making across all ages, genders, cultures. It is invaluable in all aspects of education, community groups, hubs, music therapy and all areas of special needs and disabilities. It encourages getting involved with making music, composition, recording and music production film and media, artistic installations, everywhere that we see and hear music in life. We can use Music Technology to teach STEM subjects.
Our job in TiME is to break down the barriers to exploring the great potential of music technology and to bring communities, organisations and opinion formers together to raise awareness of this potential.
Why is accessibility and inclusions to music-making important to you?
There is a wealth of evidence that demonstrates the benefits of music-making. We believe that everyone has a right to access music-making and that music technology can support inclusive music-making approaches that are accessible to all. In addition, new technologies are evolving rapidly and at TiME we work with manufacturers to deliver an ‘Accessibility’ Testing programme, where manufacturers can connect with musicians and educators in a range of settings to learn about how their new technology can be used to support inclusive and accessible music-making.
Personal and lived experience of disability amongst our team has provided a direct insight into the benefits (and barriers) to music-making. We are committed to supporting organisations and individuals to continue striving for equal and equitable access for all.
What can people do to get involved or find out more?
Please visit www.techmusiced.org.uk or contact us at info@techmusiced.org.uk
Stay up to date by following TiME below:
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Jun 24 2021 
Learning by Livestream
Learning by Livestream
Based in Cambridge, Liam Taylor has been making music non-stop in some form for the last 17 years. He works across different areas of music from education to running a music blog, composing for independent film and releasing his own original music. This year, Liam became a Steinberg Certified Trainer and has gained recognition for his Cubase tutorial type livestream sessions.
We caught up with Liam to find out more about his approach to learning how to produce music and to get some advice for anyone looking to get started in this side of music-making.
What led you to start creating your livestream music production sessions?
I started creating videos for YouTube 10 years ago. For a while, I was creating weekly videos teaching composition or guitar techniques, sharing ideas and sometimes releasing new music. This was a great way to build a community but also gave me a way to discover new ideas myself – they say the best way to learn is to teach.
Trying to keep on top of this weekly schedule became tricky after a while. I found that I was prioritising video creation over writing music which didn’t make any sense to me. So, I started to look for ways to stay in touch with my audience that didn’t require several days of research, recording and editing every week. I realised that live streaming could be the answer.
I decided to go live twice a week and make music in Cubase with no goals other than to be creative. This gave me a reliable 4 hours of music creation every week with very little preparation. It also allowed me to chat with the audience live, so it was absolutely the right call.
I find being this open with my creative process really helps viewers see how music is really created; in an imperfect, non-linear way with plenty of mistakes!
Describe your sessions – what can viewers expect to happen and learn?
The goal is almost always to write a new piece of music from scratch. I recently added a keyboard camera to the setup to show exactly what I’m playing and talk through the notes or chords I’m using. As I write the different parts, I describe the decisions I’m making, sometimes throwing decisions to the audience. Sometimes the audience will insist I change a patch or a chord which I don’t mind!
Once the basic structure of a song is in place, I’ll start adding production elements like E.Q., dynamic plugins, etc. Depending on the type of song I’m working on, I might add electric guitar, bass or ukulele – I have a room full of instruments so it’s nice to make use of them.
What’s the benefit of livestreaming compared to pre-recorded videos in your opinion?
Because I talk through all the decision making, viewers can use any of the production or composition techniques in their own work. I find being this open with my creative process really helps viewers see how music is really created; in an imperfect, non-linear way with plenty of mistakes! It’s exactly the kind of thing I would have watched when I was a teenager, (and exactly the kind of thing I do watch whenever I can!)
Occasionally, I’ll run a stream where I look back over old project files to add some variety. It’s really funny to look back at decisions I made 5+ years ago and wonder “what was I thinking!?” Sometimes it’s similar to working with younger music producers because some simple fixes can make the whole piece work better. Rather than working with a younger producer, I’m working with a younger version of myself so I’m pretty comfortable calling out whatever silly decisions I made back then.
These sessions go out on YouTube and Twitch (both free platforms) so anyone with either account can watch and interact. I welcome any audience questions, whether or not it’s relevant to the stream’s topic. I have some big ideas about where to take these broadcasts in the future – I think there’s potential for this to be a great resource for all music students.
What advice or tips would you give to someone looking to start learning from scratch?
A lot of creative projects can look really daunting from the outside. You don’t necessarily need any prior knowledge to start making music so I’d suggest that anyone interested should just jump in!
Try to turn off the part of your brain that tells you you’ll fail, because of course you will, but you have to embrace failure as part of the process.
I’d recommend starting by making a BandLab account – it’s a free, web-based program with plenty of tutorials and resources to help you get started. You’re likely to outgrow it at some point, but you’ll learn a lot in the meantime and the benefit is that you won’t have to spend any money up-front.
What do you think the biggest barriers are that stop young people from getting involved in music-making?
I believe there are two main issues. Firstly, information overload. It’s hard to know where to begin, especially as there are so many different programmes and so many ways to approach music-making. What works for you might not work for someone else and, unfortunately, you don’t always know that until you try it.
Secondly, confidence. As a kid, when you think of making music you probably start by thinking of someone incredibly famous who tours the world and is all over social media. When I was a teenager, I thought that all musicians could sight-read. I assumed that anyone playing music on TV had a Grade 8 and had spent years studying music history. Eventually, I realized that wasn’t true. In fact, all I needed was a guitar, Cubase and the confidence to trust my intuition.
Why do you think it’s important to learn about music production?
Whatever your long-term goals are with music, understanding the production side of things and knowing the basics of a digital audio workstation (DAW) will be beneficial. If you’re interested in music creation but you treat it as a hobby, making beats or recording yourself with a DAW is a really fulfilling way to explore your creativity.
If you want to be a performer of some kind, knowing how to record basic demos or backing tracks will be incredibly useful to convey your artistic vision to other producers, or a record label, (if that’s the route you want to take). If you’re dedicated enough, you may be able to self-produce your work at every stage of your career.
There are also plenty of careers that rely on music tech: commercial music and client work; studio production and engineering; composition for film, TV and games. Being familiar with a DAW and some standard production techniques is a great start for anyone considering these careers.
How can people get involved in your sessions and stay in touch?
There’s a page on my website with a Livestream calendar and further info. You’re welcome to explore the site for more information about me and my music projects: ltguitarist.com/streaming
I’m @LTGuitarist on all the socials and most active on Twitter if you have any questions.
Stay up to date and tune into Liam’s livestreams by clicking on the icons below:
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Jun 02 2021 
Make Music Day
#MakeMusicDayUK
We’ve made it to June, the sun is shining and summer in the UK is feeling very promising!
This month, we’re very much looking forward to Make Music Day on 21st June. Not sure what to expect? Here’s a little round-up of what it is and how to get involved…
What is Make Music Day?
Make Music is a day of celebration of all music around the world! It first happened in France in 1982 on the summer solstice when they had a festival called ‘Fête De La Musique’. This evolved to become Make Music Day which is now celebrated across the globe in over 125 countries.
When is it?
Every year on 21st June.
Who can get involved?
Make Music Day is open to anyone and everyone who wants to take part; whether you’re a beginner, amateur or professional musician, interested in classical, rock, jazz or pop, young or old – you’re all invited!
What does it cost?
It’s free and open to the public.
Where does it take place in the UK?
There are events happening up and down the country. Look for an event to join here: makemusicday.co.uk/events
Or you can set up your own event and list it here: makemusicday.co.uk/get-involved
How can I get involved?
This year there will be both digital and socially distanced celebrations including window serenades, listening parties and live streams. There are lots of ways to take part!
Have a look at the Make Music Day website by clicking here for 21 ways to get involved.
Making Music UK is also organising a Bandstand project so see if you can join them by checking their website here: makingmusic.org.uk/opportunities/make-music-day
There’s a lot of great resources on the Make Music Day website with ideas of what and how to set up your event here: makemusicday.co.uk/resources
📣 Calling all Take it away Music Shop members to join in!
Do you have suitable space for performances?
Why not invite local musicians to come and play throughout the day to support your local community? Or perhaps set up an open door day so that members of the public can pop in and have a play… they may discover new instruments and become your next customer!
There are useful resources from the Musicians’ Union, ISM and more including how to set up your own gig, live stream, host online concerts etc. here: makemusicday.co.uk/resources
Let us know if you’re planning anything on Make Music Day this year and we’ll see how we can support you here at Take it away.
After a year of restrictions, Make Music Day is going to be the perfect opportunity to celebrate playing music together!
Tag us on the day and show us how you’re celebrating:
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May 20 2021 
6 Pieces of Studio Gear to get started as a Producer/ DJ – Point Blank
Point Blank Beginner Kit List: 6 Pieces of Studio Gear for Producers/DJs
Point Blank Music School pride themselves on helping young creatives kick-start their music careers. With over 25-years of offering award-winning music courses both at their HQ’s in London and Los Angeles, as well as online, they are clued up when it comes to the kind of music tech you should have in your home studio. If you’re new to the world of music production and/or DJing and need to get to grips with what software and hardware you need, they can help!
They’ve put together their six go-to pieces of kit for anyone looking to jump into the world of music creation and performance which you’ll find below.
If you’d like to learn more about music production, DJing, singing, songwriting and music business, be sure to check out Point Blank’s courses. Plus, they’re currently offering 25% off their selected London, Online and Los Angeles courses using the codes LONDON25, ONLINE25 and LA25.
1. Ableton Live
Ableton Live is a staple for many music producers, featuring a range of instruments and effects. There are some affordable price plans available if you’re not looking to buy upfront as well as the option to grab yourself a copy for free when enrolling on certain Point Blank courses. If you’re looking for some fantastic free plugins to add to your music production tool kit, check out Point Blank’s round-up of the 10 Best Free Plugins: 2021.
2. AKAI Professional MPK Mini MKII
Akai’s MPK Mini MKII is a great controller for programming beats and playing in your basslines and melodies. Unlike many other controllers, the MKII has an innovative 4-way thumbstick for dynamic pitch and modulation control as well as a built-in arpeggiator with adjustable modes. This one’s perfect for taking on the road due to its compact size of 18 x 31.4 cm (that’s roughly the size of a laptop).
3. Focusrite Scarlett Solo
To help connect all your gear, you’ll need a good audio interface. Focusrite’s Scarlett Solo is perfect for beginners and features an XLR input for recording vocals or instruments, the best-sounding Scarlett mix preamp yet, a 2-in/2-out configuration and more.
4. KRK ROKIT RP5 G4 Studio Monitors
What’s great about the KRK ROKIT RP5 G4 monitors is their integration with the KRK app. This allows users to gain expert assistance with EQ, level matching, speaker placement and more, so you’ll get the most out of your monitors. KRK’s are popular in lots of home studios thanks to their reliable quality and accessible prices. As well as featuring powerful D-class amplifiers, their custom Brickwall Limiter helps provide wider sound dynamics and prevents them from overheating.
5. beyerdynamic DT 770 PRO
These beyerdynamics are a solid option for those looking to use their new headphones primarily at the studio. They’re bass-heavy, reasonably priced and durable, meaning that you won’t need to replace them anytime soon. You’ll reap the benefits of these headphones when using an audio interface but when plugged into a laptop or phone the sound can feel slightly less driven. Overall these are a great selection if you’re in the game for some low-end studio sessions.
6. Pioneer DJ DDJ-400
The DDJ-400 from Pioneer DJ comes in at just under £250, making it a fantastic entry-level controller for those looking to jump into the world of DJing. Like many of Pioneer DJ’s other hardware controllers, the DDJ-400 comes equipped with the latest Rekordbox software which enables users to set cue points, hot cues, arrange playlists and organise their tracks for use on CDJs when the time comes. The layout on this controller mirrors that of the performance tech giant’s flagship NXS2 set-up, meaning that it’s a great tool to use when preparing yourself for the club.
If you’re looking to kick-start your music career, be sure to check out Point Blank’s award-winning courses in London, Los Angeles and Online: www.pointblankmusicschool.com
How Take it away can help you
Instruments and equipment can be expensive meaning some people never discover the joy of learning and playing music.
At Take it away, we work with our retail partners, Arts Council England and the Arts Council of Northern Ireland to break down these barriers. A part of Creative United, a community interest company that drives economic growth and social impact in the arts and creative industries, we provide a range of subsidised and non-subsidised loans. These are designed to make learning, playing and participating in music more affordable and open to everyone.
Together with our partners, we look to enable and inspire a life-long love of music.
Find out how Take it away can help you with the cost of a musical instrument, equipment and software.
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May 04 2021 
Visiting music shops in person post lockdown
Why we're excited to visit music shops again in person 🎉
As we all know, many small businesses and high street shops were knocked sideways when lockdown hit the UK, but a year later things are starting to look up…
Music shops have always been ‘essential shops’ in our eyes so we were super excited when our Take it away music shop members were once more allowed to throw open their doors ready to welcome back customers!
Many music shops have adapted to the times to ensure that lots of their stock is available to buy online, and for some customers this may still be the safest option. If you feel comfortable doing so, supporting your local music shop in person is incredibly important and here’s why we recommend popping in to see them:
In need of a new instrument or upgrade?
Nothing can compare to the joy of trying out different instruments and seeing how they feel beneath your fingertips. Some even say that it’s the instrument that chooses the musician… (Harry Potter fans, we see you.)
Music shop staff have unrivalled knowledge so stop by and ask for their advice however little or big a question you may have. Our Take it away retailers are lovely and are always ready to help – we know that they’ve missed having a chat with customers and musicians alike!
Image curtesy of Alan Gregory Music
Looking to refresh your repertoire?
Browsing for new sheet music in person and having a peek inside to see what the print is like beats searching online where more often or not you can only see the cover. In store, you’ll often be able to see what’s popular to learn for your level and ask for recommendations too! Also the smell of new books is oddly appealing. (This felt strange to write down but you know what we mean!)
Image curtesy of Just Flutes
Start browsing
We’ve got a brand new search page to make finding the best Take it away music shop member for you super easy!
All of our shop members have the appropriate COVID safety measures in place and some have timed booking slots to visit showrooms or try out new instruments, so make sure to have a quick check online before you head over.
Either search by location on the map with your postcode/town, or filter by instrument and shop name.
Image curtesy of Bridgewood & Neitzert
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Mar 25 2021 
How to maintain your piano
How should I look after my piano?
Have you seen the inside of a piano before? The sleek exterior is protecting the most beautiful and clever interior…
In celebration of #WorldPianoDay, we’ve got some top tips in an super useful article from Take it away music shop member Piano Warehouse on how to maintain your piano and keep it at its best!
Read on to find out how to look after your piano 🎹
Piano maintenance and tuning are important factors to remember for the longevity of your piano. Pianos can behave differently when delivered or moved. Changing environments, temperatures and humidities can all affect the piano in different ways.
Pianos are delicate instruments which need professional attention periodically. Basically there are two types of professional piano care: tuning and adjustment. Tuning means correcting the pitch of every note by retightening the strings. Each piano string is normally stretched to a pressure of about 90 kilograms (198.5 pounds), but eventually it will stretch further with use and lose some of its tension, causing the piano to lose its correct pitch.
How often should you tune your piano?
The strings need to be tuned once or twice a year to restore them to their proper tension.Adjustment involves the entire piano action, keyboard and pedal movements. Proper adjustment is especially important for grand pianos. Whether the piano will perform properly or not depends on how accurately the adjustment is made. Tuning and adjustment should be done by an expert. When your piano requires either one, ask your dealer or call a specialist. Your dealer can also advise you about the interval between adjustments for your piano under the circumstances in which it is used.
Caring for you piano
The piano is among the most versatile of musical instruments, but it is also one of the most complex and delicate. Pianos are extraordinarily rugged-built by a combination of traditional craftsmanship and advanced acoustic technology. But even the finest instrument needs proper care to give long life and dependable service. Please read this article carefully and follow its instructions, and you will be rewarded with years of pleasurable satisfaction.
Provide enough ventilationPianos need ventilation, but the wrong kind of ventilation can damage them. The best location for your piano is in the centre of the room or against a wall, which divides two rooms. If possible, avoid placing it next to an exterior wall where outside weather conditions might cause tone quality and volume to suffer. If there is no other choice, however, at least make sure that the piano has adequate ventilation on all sides.
Avoid windows
Try not to place the piano near a window. Its cabinet is made of wood and must be protected against direct sunlight, humidity and sudden changes in temperature. Windows that open to the outside offer the least protection. If you must place the piano near a window use a heavy curtain over the window for protection.
Avoid heat
Keep the piano away from sources of heat such as radiators or hot air registers. They may damage the finish and internal parts causing tone and balance to deteriorate. Make sure that no radiant heat or hot air draft strikes the piano directly.
Proper conditions = better sound
Pianos work best and sound best when the temperature and humidity are right. Proper ventilation is also important. Generally speaking, a relative humidity of between 50 and 60 percent is ideal for pianos. The use of materials such as wood, felt and cloth in piano construction means that many parts are quite delicate. If not properly cared for, they can be damaged easily. Therefore we are unable to assume responsibility for damage resulting from abuse or harsh treatment.
How does humidity affect a piano?
Felt, cloth, leather and the precision wood parts – some of them machined to tolerances as fine as 1/100 mm – used in such critical parts of the piano as the action are extremely sensitive to humidity. Too much humidity will result in dull hammer action and unclear tones, rusting of internal parts and sticking keys. Before this happens the piano should be repaired.
How to protect again excessive moisture
On cloudy or rainy days close all windows in the piano room. Also, be sure to close the top board each time after playing. The piano’s thick cloth cover absorbs moisture in damp or rainy weather and should be taken off and dried on clear days. Be especially careful about excessive moisture if you live in one of the following places:
- Along a seacoast or in a rainy or humid region.
- In a valley, in a house facing hills, or in an area with poor drainage.
- In a concrete building not more than one or two years old.
- In an area where air exhausts are directed into a room or in a dark, dank room.
But also beware of excessive dryness
Too much humidity is a problem, but excessive dryness is an even more serious one, especially where heating or cooling systems are used to create artificially dehumidified rooms. Used in naturally dry climates the piano has enough natural moisture to prevent excessive drying. However, if the air becomes too dry the wooden and felt components will shrink. In extreme cases, the soundboard, joints and other laminated sections may even come apart, even though they have been glued together carefully. Slight distortion of the parts may cause noise, and the tuning pins may work loose, making it difficult to keep the piano in tune. To avoid excessive dryness it is best to keep some kind of leafy plant or a humidifier in the piano room. 🌱
Avoid sudden temperature changes 🌡
When a cold room is warmed suddenly, moisture will condense on the piano strings and other metal parts, causing them to rust. Felt parts will absorb moisture, dulling their action and resulting in unclear sound. Be especially careful about sudden temperature changes when moving your piano into a room in a cold climate or into an airtight room in a concrete building.
Put your piano where it sounds best
The piano should be placed in a room where the sound will be evenly distributed. A room where all the sound gathers in one spot will produce sound lag and echoes. The best room for your piano is one in which its sound will reverberate to produce pleasant, full-bodied tones without harsh echo.
Don’t place objects on top of the piano
A heavy object may cause poor tone or noisy vibrations if placed on the piano. A vase of flowers may look attractive on the piano but if it should spill and water enter the piano serious damage can result. Water will rust the metal parts of the piano and damage the hammer and action. Avoid costly accidents and never place anything except sheet music or a metronome on the piano.
Avoid placing or spilling any of the following on the piano
- Plastic products (except polyethylene)
- Vinyl products
- Anything containing alcohol
- Liquids such as cosmetics, insecticides, any kind of aerosol, paint thinner or petroleum-based products
Remember to dust and keep the keyboard clean!
Dust can dull the hammer action and cause noise. Dust the piano frequently with a soft cloth or feather duster and wipe the finish with a soft cloth.
The keyboard should be wiped periodically with a soft, dry cloth. Never use cleaners containing alcohol as the keys will become cracked. If the keyboard is very dirty, wipe it with a cloth dipped in a solution of soap and water and wrung out well. The same cloth should not be used for cleaning the surface of the piano, however. A good habit to cultivate is never to play the piano with dirty hands. That way the keyboard will stay clean for a long time.
Piano Warehouse is a Take it away music shop member based in Surbiton that offers a wide range of pianos, repairs and more!
Find out more and get in touch by visiting their website: piano-warehouse.co.uk
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