after ring revisited

[Jorgensen, Michael L]

Wim,
     You must be 80% psychiatrist and 20% piano tuner.  "Problems" should be marketed it as an advantages.   "These two Ds were chosen very carefully for their unusually rich upper harmonics. This slight sympathetic after-resonance of each is critical to the deep power and sustain of the tone overall."   "An abrupt cut off  forms a percussive silence as opposed to a gentler kinder ambience."  "Damper woosh will also increase"   "Great art and perfection are not synonymous, the later not essential for the former"  

Have a list of "personal escapes" ready tricky situations, 

-Mike
Always interested in aquiring useful escapes.

> ----------
> From: 	Wimblees@aol.com
> Reply To: 	College and University Technicians
> Sent: 	Tuesday, January 28, 2003 8:35 PM
> To: 	caut@ptg.org
> Subject: 	after ring revisited
> 
> Our mezzo is giving a recital this evening, with the accompanist, who is not a member of the faculty here, using our new D. This afternoon, after tuning the piano, I went home, because I'm sick with the flu and a bronchial condition. At 7 o'clock, the mezzo calls me, and says the low D on the piano is "funky" and could I come and fix it. I drive to school, (which is 15 minutes away), and meet with the accompanist. He says last piece ends with a loud d chord, and the low D continues to ring on. I play the note, and guess what? The damper stops the note, but it is the overtones that are continuing to ring, for at least 1.5 seconds. I tell him there is nothing wrong, and it's supposed to be that way. He says he has never heard it that loud and that long before on other pianos. I went over to our other D, and played the same note, with the same intensity, and had the same result, just to prov! e to him that they all sound that way. 
> 
> So if there is nothing wrong, and it's supposed to be that way, how do I explain that there is nothing wrong to an accomplished musician? 
> 
> Wim
> Univ. of Alabama.
> 
> I'm going home to bed now. 
>