[CAUT] Speaking of stability......

[Conrad Hoffsommer]

At 15:16 6/19/2007, you wrote:

>Hi-
>
>I've been wondering if anyone has a more effective and/or informed 
>explanation to give musicians as to precisely why concert grands are 
>so more much sensitive and require so much more time to be 
>"satisfied" with than do the smaller grands.  On the surface that 
>probably seems straight forward, but this is an important point to 
>be mutually understood as we compete for  limited time in a busy 
>hall.  Certainly concert grands are more transparent, but this is 
>not to imply that somehow our standards are compromised on smaller 
>instruments.  We can tune faculty studio grands once a month and 
>everybody is happy to get it done that often. During peak times or 
>with goofy weather I'm in the hall almost every single day.  Last 
>week one got pulled out for a recording that unfortunately had not 
>been serviced in at least 3 weeks.  We got the job done, but I'm not 
>sure they really understand some of our physical limitations.  To 
>the degree that we all have misunderstood limitations, maybe that 
>doesn't really matter.  Or maybe it does.........  any suggestions?
>
>thanks,
>
>dennis.
>St. Olaf College


Dennis,

It's the law of diminishing returns with a side order of increased 
expectations.

You put more into a concert grand BECAUSE YOU CAN. You GET more out 
of a concert grand BECAUSE YOU CAN.

Try to do an ultra sensitive regulation, voicing and concert tuning 
that will stand up to the entire set of Enigma Variations.
-On a Winter 36" spinet.
-On any vintage Hamburg D.

Interpolate between.





Conrad Hoffsommer
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