Guqin is really expensive nowadays, so we should pay attention to daily maintenance. In fact, a qualified guqin is generally very "strong" unless it is in an extremely harsh environment. However, this proper maintenance is still necessary. I won't say much about the basics. I don't think anyone will not love the piano so much that she will be sleeping in the wind, exposed to the sun, suddenly cold, bumpy, oily, or dusty.

Guqin is really expensive nowadays, so we should pay attention to daily maintenance. In fact, a qualified guqin is generally very "strong" unless it is in an extremely harsh environment. However, this proper maintenance is still necessary. I won't say much about the basics. I don't think anyone will not cherish the piano to the point of letting her slept in the wind, exposed to the sun, suddenly cold, bumpy, oily, or dusty.
Eight maintenance methods for guqin

First, the North Qin and the South.
The north is dry, and in the humid south, the sound is easy to be muffled, and in severe cases, it may be deformed. The usual practice is to hang it vertically in a ventilated place, away from damp walls. Don't think it's a good idea to put it in the piano case or dry closet, which will make the sound of the piano dull. I was in Shanghai before, and Huangmei was abnormally humid in the sky. When conditions permit, turn on the air conditioner to dehumidify to keep the room dry so that I can keep the piano.

Second, the South Qin and the North.
When it is turned over, the Nanqin is prone to cracking due to excessive drying, and the sound is also dry and dry, or it is not moisturizing. From my experience living in Manchester City, it's trickier than it is. What you can usually do is: stay away from heating equipment and maintain indoor humidity, such as a humidifier. Another extreme method is to get up every morning and put the guqin in a warm bed for a period of time, which is said to reduce the dryness of the piano. However, this effect is very small. I have insisted on it for a month, and there is no change. It is estimated that it will not take a year or a half to see the effect. This allusion comes from Teacher Gong's teaching.

Third, the maintenance of the strings.
When a new piano arrives, there will often be "fire", and the tone is not old, not moist, and impenetrable. There are strings for this. Master Wang Peng "suppresses the fire" by dipping the strings in tung oil. This is also the reason why the first and second strings of Wang Qin turned orange for a while. But I thought this was an "overkill". In principle, it is still necessary to keep the strings away from oil stains. I once used Johnson & Johnson's body lotion to wipe the strings, thinking it could "moisten" the sound, but it ruined a pair of strings. Excessive oil stains will only make the sound woody. Since nylon steel strings are now dominated, waterproofing is also very important, and the strings will get moldy due to water and fungus.

Fourth, the suspension rule.
According to my experience, it is absolutely not to hang on dangerous walls, places where people often walk, and walls directly facing the street. If you really pay attention, it is best to block the piano and the wall with a layer of solid wood. Secondly, if it is suspended for a long period of time, do not hang the two goose feet with ropes, because the water droplets wear through the stone, and the goose feet will be deformed, so that it is difficult to lay the qin flat and stable when playing. Unfortunately, my first piano was "disabled". Later, it was easy to use a senior piano friend who had "plastic surgery". When conditions permit, use a stick to top the Feng Marsh. I later used iron hooks with no effect either.

Fifth, the problem of Qin Zhen.
Generally Vaseline is omnipotent. If it is a hole problem, use a thin lead wire to pass it through. In fact, what Qin Zhen was most afraid of was the expansion and contraction of heat. "Prevention and control" rules refer to the previous ones.

Sixth, the maintenance of the piano surface.
A piano with a thin surface paint is prone to a lot of wear and tear after playing for a long time. This is an inevitable depreciation, and there is no need to panic if it does not affect the playing. But this guqin doesn't need to be rubbed as hard as high-end furniture. I haven't found any kind of "Bilizhu" that is suitable for lacquer. And I feel like rubbing with that kind of stuff is just another "wear and tear". Generally, I just use a soft cloth to lightly dust off the dust, or cover the dust with a quick and beautiful cloth when laying flat.

Seventh, the maintenance of the imitation broken pattern piano.
I don't have much experience in the maintenance of the imitation zither. According to the experience of several piano friends, the main reason is that the zither develops further, and finally creates a "sand tone". Raw lacquer filling is equal, in short, there are many problems. I deal with this kind of sandy sound by changing the fingering of the left hand to avoid it as much as possible. The "development" of this kind of streak is difficult to prevent, especially if the means of preventing streaks are not in place.

Eighth, the last one is more bombs. This is the first essential of the piano.
Qin Tong's humanity, how nice you are to her, she will give back to you, ha! Many of the timbres of the piano, such as transparency, moistness, and no fire, can be raised. Of course, you should also be careful that some unscrupulous piano masters fool you and say that the sound will be turned on when you play.