da needles

[David Ilvedson]

It's not what you can or can't stand to listen to...it's what the artist can stand to listen 
to. 
I'm with you on the brittle stuff but I err on the bright side...if you get my drift.

David I.

On 25 Apr 2072 at 6:53, David Andersen wrote:

> >I agree with the "stingy" use of the needles.  I've had pianist say
> >they would rather have too bright than dull.  They can deal with
> >bright but dull is...well dull.
> >
> >David I.
> 
> Hi David.....HER concept of dull, maybe, but not dull.....quite a few
> pianists---some pianists---don't really listen passionately to the
> instrument, and can't pull or draw the sound out of pianos, so they
> need an edge (to me a metallic clang at low volume) to feel
> comfortable.  I literally can't listen to certain modern piano
> recordings:  way too edgy, too "broken-glass" at low volume, and very,
> very ugly at high volume unless it has to cut through an entire
> triple-forte orchestra.  
> 
> Listen to the live recording of Lang Lang at Seiji Ozawa Hall at
> Tanglewood----a beautifully voiced piano for live performance, but
> certainly "duller," in your parlance, than most concert grands I've
> come upon. To me, what you call dull(perhaps) is classic piano
> tone---completely clear, but mellow and throaty, golden and viscous at
> piano and mezzo; a little snarl appears at forte, and a real edge of
> brilliance, of snarl, of snap, appears at double forte---really, check
> this record out; Barbara Pease Renner is a monster pianotech, and her
> husband Jack is a monster recording engineer; the piano is miked and
> recorded in a full, natural, very near-field way.....great spread and
> clarity: my current record to use as a demo for what I consider to be
> great live piano sound.  In the studio, you can go even darker; the
> sound begins to take on incredible colors when all the bang is out of
> the hammers.........very intimate-sounding.
> 
> Anyway....endless are the arguments of mages....  :----)
> 
> David A.
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