Steinway Voicing Specialist
My name is Boaz Kirschenbaum. I’m a Steinway-trained concert technician, specializing in voicing. I live year-round on the island of Martha’s Vineyard, in the town of West Tisbury, Massachusetts. I’m also a Registered Piano Technician in the Piano Technicians Guild.
I have recently reduced my tuning work-load dramatically along with much of my field service work, due to my full-time job as Technical Director of the Martha’s Vineyard Playhouse.
Currently I am only accepting new tuning clients with high-quality grand pianos.
Locally, I offer concert tuning, complete appraisals, evaluations, estimates for custom rebuilding, and custom humidity control packages for discerning clients.
Information for Piano Owners & Clients
I tune pianos 100% aurally without the aid of an ETD. As a Steinway concert technician, I offer a superior tuning & voicing service for high quality grand pianos only. My tuning rates start at $185 per service call and my hourly rate is $120 per hour. I do not offer a free consulting service.
If you have found this page and are in need of basic piano tuning & repair, please contact
She is a Certified Piano Technician and tunes pianos aurally (no ETDs/Electronic Tuning Devices).
Sakiko holds a Certificate in Piano Technology from the North Bennet Street School (2007).
She also learned piano tuning and repair at the Berklee College of Music and Piano Forte in Boston, MA.
You can email Sakiko to make an inquiry / appointment:
sisomichi1212 at gmail.com
About ten years ago, I worked at Steinway & Sons, inside the famed Steinway Hall “basement” on West 57th Street in New York City. I was employed full-time as a tuner-technician & voicer in both the retail and concert departments, specializing in restored vintage Steinways. My mentors included renowned concert technicians Ron Coners, Aleks Markovich, Eric Schandall, and Kent Webb. In 2004 I became a Registered Piano Technician in the Piano Technicians Guild after passing a series of practical tests (tuning, repair, and regulation).
After my tenure in New York, I worked for Steinway overseas for two years in New South Wales, Australia. I received further training at the Steinway Hamburg factory during that time. I started my private practice after I left Steinway in 2006.
Personal Signature & Life on an Island
This rural area is home to many farms, as well as very talented craftsmen – shipwrights, carpenters, cabinetmakers, luthiers, machinists, and mechanics. There is also a vibrant and diverse music scene. I chose the name “Cherry Tree Piano” for a couple of reasons. My last name translates from the German as “cherry tree”, so it is a direct way of putting my own name on my work. Also, I wanted to have a connection to the past by having a simple, old-fashioned name. It just seems to have a straightforward ring to it, like many of the farm names on the island.
Musical Aesthetic & My Life as a Musician
My taste in piano tone is influenced by my taste as a musician. My “signature sound” is really the classic New York Steinway sound from the past, especially the 1940s and 1950s.
As a guitarist I have always been on my own “tone quest” for over twenty years. Almost fifteen years ago I thought I should learn a skilled trade that would involve helping other musicians find their own tone. I wanted to mix together my interests in instrument-making & repair, audio engineering & acoustics, woodworking & metalworking, and most of all, preserving & restoring vintage things. Piano rebuilding combines all of these.
I am sometimes asked, “what does being an electric guitar player have to do with piano tone?”
I answer….it’s all from the same place. I play some piano, yes, but for me music-making is about collaboration. I can best collaborate with other musicians as a guitarist and bass player. I collaborate with sound engineers & piano technicians helping them make pianos sound beautiful and play well.
I’ve been a semi-professional electric guitar-player for a long time, over 25 years. I studied musicology and performance at the McGill University Conservatory of Music in Montreal. I began playing guitar at age 12 at the encouragement of my father, learning songs by Buddy Holly & Carl Perkins. By the end of middle school, I discovered several guitarists whose tone influenced my taste greatly: Mark Knopfler, Jerry Garcia, Lowell George and Jimmy Page. This was at a time when the tones these players made were not really in fashion (it was the mid- to late 1980s). Vintage 1960s and early 1970s guitar tones are now considered to be classic, of course. Medium-wattage tube amplifiers, simple pickups/simple guitars made in the late 1950s, and a minimal use of effects – all contributed to the singing, shimmering, round “golden” tone they achieved. This tone aesthetic is my goal as well.
Rehearsing for my 40th birthday concert, January 2014.
L-R: Tauras Biskis, drums. My wife Shelagh Hackett, vocals. Me on guitar. Brian Weiland, drums. Mike Benjamin, guitar & vocals.
All images, video, tool designs, & recordings are ©2009-2015 Boaz Kirschenbaum.
All rights reserved.