Why C. Bechstein Still Makes Its Own Soundboards (and Why Val di Fiemme Spruce Matters)
If you ask piano makers what the “heart” of a piano is, most won’t point to the frame, the strings, or even the action. They’ll point to the soundboard.
C. Bechstein refers to the soundboard as the heart of the instrument, and it’s one of the few components where the world’s great manufacturers still insist on doing things the hard way: selecting exceptional spruce, and building soundboards in-house with tightly controlled methods.
The main reason: consistency of tone (not just “good wood”)
A piano soundboard isn’t a generic part you can swap like a tyre. Its thickness, crown (arched tension), rib structure, and the way it is fitted into the acoustic assembly all determine how the instrument speaks—its warmth, projection, sustain, and colour. Bechstein explicitly highlights how controlled tensions and precision fit in the acoustic assembly help maximise vibration and contribute to a richly coloured sound.
That’s why top makers keep soundboard work close to home: it’s the most direct way to build the sound they’re famous for, repeatedly, not “approximately.”
Why spruce from Val di Fiemme?
Val di Fiemme (including the Paneveggio “resonance wood” forests) has a long reputation for producing spruce prized for musical instruments. The common thread in descriptions of this wood is slow growth and even, tight grain, which tends to yield a strong, light, responsive material—ideal for turning string energy into sound.
Bechstein notes it uses slow-growth mountain spruce from the Alps for soundboards and ribs.
Whether we’re talking violins or pianos, makers chase the same physical goal: a material with an excellent strength-to-weight ratio that “wakes up” easily and speaks clearly.
“But doesn’t a single soundboard limit the life of the piano?”
It’s a fair question—soundboards are wooden diaphragms, and wood responds to humidity over time. Changes in moisture can cause swelling/shrinking and, in extreme cases, cracking or loss of crown—one reason humidity stability matters so much.
But the key point is this: a soundboard is not a short-lived consumable part. With proper materials, construction, and a stable environment, soundboards can last for decades—often the working lifetime of the instrument in a private home.
So rather than “defying the life of a piano,” a well-made soundboard is designed to carry the piano’s voice for a very long time—and when elite brands build them in-house, they’re protecting both tone and longevity.
Why this matters when you play a C. Bechstein
When you sit at a C. Bechstein, what you’re hearing isn’t just “spruce from a famous valley.” You’re hearing a manufacturer’s ability to turn exceptional wood into a consistent acoustic result—through precise shaping, ribbing, crown, and integration into the instrument’s acoustic assembly.
That’s why soundboards remain one of the most guarded crafts in high-end piano building—and why Bechstein’s approach is still so relevant today.
If you’d like to experience the difference in person, you’re welcome to visit us at Austral Piano World and spend time with our C. Bechstein range.
