<HTML><BODY style="word-wrap: break-word; -khtml-nbsp-mode: space; -khtml-line-break: after-white-space; "><BR><DIV><DIV>On Feb 6, 2007, at 2:39 PM, Rob Goodale wrote:</DIV><BR class="Apple-interchange-newline"><BLOCKQUOTE type="cite"><SPAN class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-align: auto; -khtml-text-decorations-in-effect: none; text-indent: 0px; -apple-text-size-adjust: auto; text-transform: none; orphans: 2; white-space: normal; widows: 2; word-spacing: 0px; "><SPAN class="Apple-style-span" style="font-family: Arial; font-size: 13.3333px; ">The [Kawai] PR-1 is a fantastic invention.</SPAN></SPAN></BLOCKQUOTE><BR></DIV><DIV>Hey, Rob. I hope I get a chance to hear it---maybe this week in San Francisco. Ya never know 'til ya hear sumthin'.</DIV><DIV><BR class="khtml-block-placeholder"></DIV><DIV>For all you lucky California State PTG Conference attendees I have a CD which is a fascinating in-progress example of attempting to satisfy recording, live-performance/audience and artist requirements and ideals. </DIV><DIV><BR class="khtml-block-placeholder"></DIV><DIV>Using the Steinway "C" that I brought to Rochester last year, we recorded Mario Feninger (classical) and Tamir Hendelman (jazz) at Atelier concerts in October and November of last year. I'm on the trail of a recorded piano sound that's super near-field, intimate, clear, deep---basically what the player hears: being inside the sonic bubble. </DIV><DIV><BR class="khtml-block-placeholder"></DIV><DIV>My major challenge is getting octave 7 and 8 to sound "right" to me and still get all the echo and overtones of the near-field---they're definitely too "plinky" in recording, but deemed "perfect" and "completely balanced" by the artists, both intimately familiar with recording pianos, and I can state unequivocally the piano sounded amazing, clear, and non-"plinky" all over the audience (I moved around.) Another pass with the needle? More under-the-soundboard mike level? A pair of mikes pointed at the treble 6-8-10 feet away? More expensive mikes? We'll find out; it's close, as you'll hear, and I'm having the time of my life. </DIV><DIV><BR class="khtml-block-placeholder"></DIV><DIV>I'll have some of these tracks, along with exhaustive recording notes, on my website within a week or two. Stay tuned; I'm really excited about the California conference; I'm bringing a truly sweet and powerful rebuilt Hamburg B as an exhibitor, and teaching an expanded, hands-on version of the class I did in Rochester.....fun fun fun.</DIV><DIV><BR class="khtml-block-placeholder"></DIV><DIV>David Andersen </DIV><DIV><BR class="khtml-block-placeholder"></DIV><DIV>P.S. regarding anything you hear via YouTube or anywhere in cyberspace: unless the mp3 has been specifically tweaked by an audio expert, and compressed in a custom way, the treble will ALWAYS sound glassy and piercing, and the tenor and bass will sound boxy....it's the nature of the compression algorithms that are used in making each track compact enough to load quickly. Isn't voicing and tonal memory/perception fun?</DIV><DIV> </DIV><BR></BODY></HTML>