> "The majority of artists I have experienced are very forgiving,
> and would seldom say disparaging comments to those who has done their best."
Greetings,
For a concert venue, I agree. However, it has been my experience that recording sessions are different. If the
tuner's "best" is not up to standards, another tuner is called.
With the the expense involved, and the lasting nature of the results, I don't think Mr. Ma would have accepted anything less
than a fine tuning. This is the point, a straight, unaltered FAC tuning met the standard, and not because of my
sparkling personality. Let's give some credit to the machine, it made all the decisions on that tuning, (other than the
phase resolutions I did with the middle strings.) On a good piano, I submit that there aren't ears out there that can
distinguish the difference. Jim and Virgil proved this to my satisfaction years ago.
On a side note, I once tuned a piano for a temperament presentation at a store in Chicago. I had 90 minutes and
the new piano was 20 cents flat. I raised to 440 and changed the temperament, finishing just as Virgil walked in.
He was there to listen to the tuning. He sat down and played. Big smile on his face and he said, "I don't mind this,
at all! I asked what he thought of the stretch, (he wasn't wild about the remote keys), and he said he thought it was
"buttoned down nicely".
I don't think I would have gotten the same result, aurally, in that situation. I have never seen anyone do a 20 minute, aural
20 cent raise and have the piano within 2 cents of the final destination, top to bottom. I certainly was never that close before the
ETD.
Regards,
Ed Foote RPT
http://www.uk-piano.org/edfoote/index.html
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