SATs

[John Musselwhite]

At 07:08 PM 04/08/96 -0400, Gina wrote:

>In a message dated 96-07-30 23:38:10 EDT, Brent.Fischer@asu.edu writes:
>
><< However, as a C&A technician for S&S I find it is not an acceptable
> device to use for concert work for two very good reasons. One, the
> majority of Steinway artists feel very uncomfortable meeting the

>I must politely disagree with you and emphatically agree with Barb. Having
>been our area "concert" technician for the past eleven years, and having used
>the SAT for ten of them, and having tuned for a plethora of Steinway and
>others' artists, I can attest that not once has a single artist even
>mentioned tuning, even though I am usually there with my SAT finishing up the

I concur, Gina. In fact, I've run into a couple of artists lately who have
been PLEASED to see me using the SAT because they've seen and heard the
benefit of the instrument in other concert halls and recording studios and
have been impressed with the results.

I've saved a lot of the contracts over the years for artists I've worked
with, and other than the pitch being at A=440 (or 442 in one case!) and
perhaps with the lights on, mention of the tuning is never made. On the
other hand, I've had VERY specific instructions from more than one artist as
to pedal regulation. Tuning is always discussed, but so far none have them
have been uncomfortable at all with the SAT and more are actually becoming
enthusiastic about as they are being exposed to its benefits.

In general, I find more opposition to it among the general public than I do
on the stage.



			John

John Musselwhite, RPT
Calgary, Alberta Canada
musselj@cadvision.com