I agree. The engineer can use mike placement (the best method), type of mike, EQ, and processing equipment to control almost anything. I personally think that many recording engineers and producers have never really listened to acoustic instruments "unplugged" - not being amplified. I would suggest that these people be required to attend piano recitals in small auditoriums regularly to get their "ear" tuned. The string and brass sections on most pop recordings today don't sound anything like "real" instruments either. (I know, I know. Much of the time they are really digital samples of strings and brass. No excuse!) Del Gittinger, RPT Del's Music Studio, Marion, OH Piano Tuning & Service Electronic Instrument repairs including organs delgit@acc-net.com -----Original Message----- From: bases-loaded@juno.com <bases-loaded@juno.com> To: pianotech@ptg.org <pianotech@ptg.org> Date: Tuesday, August 24, 1999 11:08 PM Subject: noisy trichords Thanks to all of you who responded to the noisy trichord thread. I have trimmed the "fingers" of the trichords before and attained small amounts of improvement, and always trim when installing new ones. There were some great ideas on methods of doing this while the dampers are still in the piano, and some particularly creative ideas to further eliminate the whoosh when trimming alone is not enough. I still can't get it out of my head that the recording engineer should take some responsibility for minimizing this problem. After all, the pianos sound just fine when being listened to with the "naked" ears. Clearly, it is the placement of the mike that is exaggerating a sound that is really quite unnoticeable otherwise. Yeah, I know... wishin' won't make it so.... Thanks again for all of your wonderful input. Mark Potter bases-loaded@juno.com
This PTG archive page provided courtesy of Moy Piano Service, LLC