Brian, FWIW I don't read Ron's post to have anything to do with the tuning as it arrived. We all know concert tuners are dealing with piano trench warfare. I read Ron's comments as more to do with the manufacturing end. The tenor tuning problems refer to the scaling problem which I believe was quite relevant to the thread, and the regulation and hammer hanging also seems out of your expected scope. Best, Jude Reveley, RPT Absolute Piano Restoration, LLC www.absolute-piano.com ----- Original Message ----- From: Brian Wilson To: pianotech at ptg.org Sent: Friday, June 26, 2009 10:45 PM Subject: [pianotech] Simon and Garfunkel Piano I tuned a late production New York model B (strange serial number, just the numbers 81) for Simon and Garfunkel last night (last of three concerts here in Sydney). All the usual problems re the break, but the regulation was nothing short of a total disgrace. There was nothing there in the way of hammer alignment or burning angle, and the hammers were way too soft to develop a tonal palate suitable for a performance instrument. Each day the tuning went sharp in the tenor. I haven't seen a late New York B before, but it left me underwhelmed. Ron O. Hi Ron I have thought about your comments over the last few days and although my first and gut instinct was to do nothing, I have now decided to change my mind. I consider your comments to be unprofessional, and it had nothing to do with the subject of key levelling. I don't believe that Chugg Productions or the American crew would be happy with your post. For the record, I tuned the piano for S&G for the Wednesday and Thursday concerts in Brisbane. The piano arrived on Wednesday from New Zealand, and it was not on pitch, nor was there any resemblance of it being in tune. I thought to myself that the cargo doors must have been left open on the B747. The piano was tuned Wednesday lunchtime. At 1900 I got back on the stage for the tuning. It was about 440.5 and again had no musicality in the tuning. I went through the tuning twice and I delayed the doors until 1945, in which 10 000 people were trying to get to their seat by 2000hrs. I was told by the American crew that the piano had to be perfect. And no excuses. I did the best I could considering the circumstances and the air conditioning duct blowing directly on the piano. On Thursday night the piano was 441hz. So perhaps the tuning instability was due to the travel and climate. I stayed for the show on Thursday, and although I did the best I could, I was not entirely happy with my tuning. However the client, that is the people who payed me were. The American crew were also happy, and I got a big thank you from the musical director. They had fun with "appearing on stage tonight.. Brian Wilson, Paul Simon and Art Garfunkel". At the end of the Brisbane show, the show was packed up and moved to Sydney via truck. Brisbane was having its coldest night of the year when the show finished, and I might consider that to be part of the tuning problems. I hope my tuning met with some approval with you, but I think you should be lucky you didn't hear the piano when it first arrived. Regards Brian -------------- next part -------------- An HTML attachment was scrubbed... URL: <http://ptg.org/pipermail/pianotech.php/attachments/20090627/a074e144/attachment.htm>
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