Pianotech

Two pianos I service are way too bright for my ears. The customer wants to keep them that way because he wants to make sure the pianos can be heard in the back of the room. One of the pianos is a Kawai GS-70, in a really live, tiered choir rehearsal space. Sort of like a very small amphitheater. The other is a Steinway D, in the main worship center, which is quite large. The Steinway is routinely miced during services. 

Like I said, I would like to warm both these pianos up a bit to satisfy my ears, but I don't want to recommend, or do something that is not helpful to the situation. 

Looking for your thoughts on voicing and projection and recommendations for these two situations. 

Thanks --

------------------------------
Geoff Sykes, RPT
Los Angeles CA
------------------------------

For your ears when? Audience makes a difference. How is sound to you, empty vs. full house?
Original Message:
Sent: 04-08-2019 13:15
From: Geoff Sykes
Subject: Question: Tone vs projection

Two pianos I service are way too bright for my ears. The customer wants to keep them that way because he wants to make sure the pianos can be heard in the back of the room. One of the pianos is a Kawai GS-70, in a really live, tiered choir rehearsal space. Sort of like a very small amphitheater. The other is a Steinway D, in the main worship center, which is quite large. The Steinway is routinely miced during services.

Like I said, I would like to warm both these pianos up a bit to satisfy my ears, but I don't want to recommend, or do something that is not helpful to the situation.

Looking for your thoughts on voicing and projection and recommendations for these two situations.

Thanks --

------------------------------
Geoff Sykes, RPT
Los Angeles CA
------------------------------

Original Message------

Two pianos I service are way too bright for my ears. The customer wants to keep them that way because he wants to make sure the pianos can be heard in the back of the room. One of the pianos is a Kawai GS-70, in a really live, tiered choir rehearsal space. Sort of like a very small amphitheater. The other is a Steinway D, in the main worship center, which is quite large. The Steinway is routinely miced during services. 

Like I said, I would like to warm both these pianos up a bit to satisfy my ears, but I don't want to recommend, or do something that is not helpful to the situation. 

Looking for your thoughts on voicing and projection and recommendations for these two situations. 

Thanks --

------------------------------
Geoff Sykes, RPT
Los Angeles CA
------------------------------

I'm assuming that "miced during services" means they have microphones inside the instrument.  I'm going to be on the other side of the discussion, though, and many will disagree, but here I go, anyway.  If the customer is quite happy with the pianos the way they are and he doesn't want anything changed, who am I to pursue changing the voice to meet my liking?   The ultimate goal is a satisfied customer and, to your credit, it seems like that's what you already have.  

I'm not a big fan of "bright, in your face" pianos, either, but it's more the norm anymore.  I grew up on Baldwin, Mason Hamlin, Steinway...those kinds of sounds where you can get colors and textures, so I understand what you mean. In my heart, I actually agree with you.  However, my preferences are not always the customer's preferences.  I tell my techs that we are the craftsmen, not the artists.  We'll do what the artist desires since the customer is the final source of approval as to what is correct or incorrect with his/her own piano.

Flame away, folks.

------------------------------
Ted Rohde
Central Illinois
------------------------------

Original Message:
Sent: 04-08-2019 17:31
From: David Pinnegar
Subject: Question: Tone vs projection

I'm curious - what do you mean by "miced during services"?

The sort of brightness that you're talking about is exactly what I've been talking about on the thread about improving piano tone through tuning and one of the issues that we're looking at on 6th May http://hammerwood.mistral.co.uk/tuning-seminar.pdf

By changing the temperament to Kellner the chances are that no-one will notice (!!!) but the instrument will sound warmer and more musical. The second thing you can do is to felt off some of the Duplex aliquots, many of which are often not in tune and which make an ugly ring in the treble. If tuned properly, harmonically, a temperament with a number of perfect 5ths will give resonance that's in tune, bright without being like bells.

Best wishes

David P

--

- - - - - - - - - - - - - - - - - - - - - - - -
David Pinnegar, B.Sc., A.R.C.S.
- - - - - - - - - - - - - - - - - - - - - - - -
+44 1342 850594

Original Message------

Two pianos I service are way too bright for my ears. The customer wants to keep them that way because he wants to make sure the pianos can be heard in the back of the room. One of the pianos is a Kawai GS-70, in a really live, tiered choir rehearsal space. Sort of like a very small amphitheater. The other is a Steinway D, in the main worship center, which is quite large. The Steinway is routinely miced during services.

Like I said, I would like to warm both these pianos up a bit to satisfy my ears, but I don't want to recommend, or do something that is not helpful to the situation.

Looking for your thoughts on voicing and projection and recommendations for these two situations.

Thanks --

------------------------------
Geoff Sykes, RPT
Los Angeles CA
------------------------------

You could try this without getting into too much trouble:

Use a light/medium duty wire brush to "sugarcoat" the entire set. This effect is normally lovely but is not permanent, in fact does not last long under vigorous playing.  What you are looking for is the reaction of the pianist. If he/she says: "Wow, what did you go, I really like that!" Then you know there is room for a little voicing down at some point.  OTOH if they immediately say: "What the heck did you do to this piano? I thought I told you...!!!"  Then you know NOT to try anything like that again. You immediately reassure them that it was simply a cursory surface treatment that will wear off very quickly. It will be right back where it was in an hour or so of playing.

This is one way I have learned to figure out what the pianist actually likes or dislikes. They themselves don't always know, nor how to communicate with the tech. Sometimes they think that if they say go ahead you will make a dramatic change that they are not sure whether they'll like it, so they say don't do anything. 

Do no damage, but experiment.

Pwg

------------------------------
Peter Grey
Stratham NH
603-686-2395
pianodoctor57@gmail.com
------------------------------

Original Message:
Sent: 04-08-2019 18:21
From: Ted Rohde
Subject: Question: Tone vs projection

I'm assuming that "miced during services" means they have microphones inside the instrument.  I'm going to be on the other side of the discussion, though, and many will disagree, but here I go, anyway.  If the customer is quite happy with the pianos the way they are and he doesn't want anything changed, who am I to pursue changing the voice to meet my liking?   The ultimate goal is a satisfied customer and, to your credit, it seems like that's what you already have.

I'm not a big fan of "bright, in your face" pianos, either, but it's more the norm anymore.  I grew up on Baldwin, Mason Hamlin, Steinway...those kinds of sounds where you can get colors and textures, so I understand what you mean. In my heart, I actually agree with you.  However, my preferences are not always the customer's preferences.  I tell my techs that we are the craftsmen, not the artists.  We'll do what the artist desires since the customer is the final source of approval as to what is correct or incorrect with his/her own piano.

Flame away, folks.

------------------------------
Ted Rohde
Central Illinois

Original Message:
Sent: 04-08-2019 17:31
From: David Pinnegar
Subject: Question: Tone vs projection

I'm curious - what do you mean by "miced during services"?

The sort of brightness that you're talking about is exactly what I've been talking about on the thread about improving piano tone through tuning and one of the issues that we're looking at on 6th May http://hammerwood.mistral.co.uk/tuning-seminar.pdf

By changing the temperament to Kellner the chances are that no-one will notice (!!!) but the instrument will sound warmer and more musical. The second thing you can do is to felt off some of the Duplex aliquots, many of which are often not in tune and which make an ugly ring in the treble. If tuned properly, harmonically, a temperament with a number of perfect 5ths will give resonance that's in tune, bright without being like bells.

Best wishes

David P

--

- - - - - - - - - - - - - - - - - - - - - - - -
David Pinnegar, B.Sc., A.R.C.S.
- - - - - - - - - - - - - - - - - - - - - - - -
+44 1342 850594

Original Message------

Two pianos I service are way too bright for my ears. The customer wants to keep them that way because he wants to make sure the pianos can be heard in the back of the room. One of the pianos is a Kawai GS-70, in a really live, tiered choir rehearsal space. Sort of like a very small amphitheater. The other is a Steinway D, in the main worship center, which is quite large. The Steinway is routinely miced during services.

Like I said, I would like to warm both these pianos up a bit to satisfy my ears, but I don't want to recommend, or do something that is not helpful to the situation.

Looking for your thoughts on voicing and projection and recommendations for these two situations.

Thanks --

------------------------------
Geoff Sykes, RPT
Los Angeles CA
------------------------------

I agree, Mr. Rohde. It's the customer's piano.

------------------------------
Don Dalton
Chester VT
------------------------------

Original Message:
Sent: 04-08-2019 18:21
From: Ted Rohde
Subject: Question: Tone vs projection

I'm assuming that "miced during services" means they have microphones inside the instrument.  I'm going to be on the other side of the discussion, though, and many will disagree, but here I go, anyway.  If the customer is quite happy with the pianos the way they are and he doesn't want anything changed, who am I to pursue changing the voice to meet my liking?   The ultimate goal is a satisfied customer and, to your credit, it seems like that's what you already have.

I'm not a big fan of "bright, in your face" pianos, either, but it's more the norm anymore.  I grew up on Baldwin, Mason Hamlin, Steinway...those kinds of sounds where you can get colors and textures, so I understand what you mean. In my heart, I actually agree with you.  However, my preferences are not always the customer's preferences.  I tell my techs that we are the craftsmen, not the artists.  We'll do what the artist desires since the customer is the final source of approval as to what is correct or incorrect with his/her own piano.

Flame away, folks.

------------------------------
Ted Rohde
Central Illinois

Original Message:
Sent: 04-08-2019 17:31
From: David Pinnegar
Subject: Question: Tone vs projection

I'm curious - what do you mean by "miced during services"?

The sort of brightness that you're talking about is exactly what I've been talking about on the thread about improving piano tone through tuning and one of the issues that we're looking at on 6th May http://hammerwood.mistral.co.uk/tuning-seminar.pdf

By changing the temperament to Kellner the chances are that no-one will notice (!!!) but the instrument will sound warmer and more musical. The second thing you can do is to felt off some of the Duplex aliquots, many of which are often not in tune and which make an ugly ring in the treble. If tuned properly, harmonically, a temperament with a number of perfect 5ths will give resonance that's in tune, bright without being like bells.

Best wishes

David P

--

- - - - - - - - - - - - - - - - - - - - - - - -
David Pinnegar, B.Sc., A.R.C.S.
- - - - - - - - - - - - - - - - - - - - - - - -
+44 1342 850594

Original Message------

Two pianos I service are way too bright for my ears. The customer wants to keep them that way because he wants to make sure the pianos can be heard in the back of the room. One of the pianos is a Kawai GS-70, in a really live, tiered choir rehearsal space. Sort of like a very small amphitheater. The other is a Steinway D, in the main worship center, which is quite large. The Steinway is routinely miced during services.

Like I said, I would like to warm both these pianos up a bit to satisfy my ears, but I don't want to recommend, or do something that is not helpful to the situation.

Looking for your thoughts on voicing and projection and recommendations for these two situations.

Thanks --

------------------------------
Geoff Sykes, RPT
Los Angeles CA
------------------------------

The first rule is, only do what the customer wants.  If he's happy with the way the piano sounds, leave it alone.

 I had a customer with a Beckstein. I thought the piano was dull and lifeless. I suggested I voice it up a little. After suggesting it three times, he found another tuner.

------------------------------
Willem "Wim" Blees, RPT
Mililani, HI 96789
------------------------------

Original Message:
Sent: 04-08-2019 13:15
From: Geoff Sykes
Subject: Question: Tone vs projection

Two pianos I service are way too bright for my ears. The customer wants to keep them that way because he wants to make sure the pianos can be heard in the back of the room. One of the pianos is a Kawai GS-70, in a really live, tiered choir rehearsal space. Sort of like a very small amphitheater. The other is a Steinway D, in the main worship center, which is quite large. The Steinway is routinely miced during services.

Like I said, I would like to warm both these pianos up a bit to satisfy my ears, but I don't want to recommend, or do something that is not helpful to the situation.

Looking for your thoughts on voicing and projection and recommendations for these two situations.

Thanks --

------------------------------
Geoff Sykes, RPT
Los Angeles CA
------------------------------

Thanks to all for the helpful replies. I have been resisting pressing this point to the church, and you have all verified that this is probably the correct thing to do. It ain't my piano, and it ain't my ears that it needs to satisfy. I agree. 

Thanks --

------------------------------
Geoff Sykes, RPT
Los Angeles CA
------------------------------

Original Message:
Sent: 04-08-2019 13:15
From: Geoff Sykes
Subject: Question: Tone vs projection

Two pianos I service are way too bright for my ears. The customer wants to keep them that way because he wants to make sure the pianos can be heard in the back of the room. One of the pianos is a Kawai GS-70, in a really live, tiered choir rehearsal space. Sort of like a very small amphitheater. The other is a Steinway D, in the main worship center, which is quite large. The Steinway is routinely miced during services.

Like I said, I would like to warm both these pianos up a bit to satisfy my ears, but I don't want to recommend, or do something that is not helpful to the situation.

Looking for your thoughts on voicing and projection and recommendations for these two situations.

Thanks --

------------------------------
Geoff Sykes, RPT
Los Angeles CA
------------------------------

Original Message------

Thanks to all for the helpful replies. I have been resisting pressing this point to the church, and you have all verified that this is probably the correct thing to do. It ain't my piano, and it ain't my ears that it needs to satisfy. I agree. 

Thanks --

------------------------------
Geoff Sykes, RPT
Los Angeles CA
------------------------------

Voicing for the hall versus the bench can be challenging. What sounds good at the bench can often be inadequate for the back of the hall and what might sound somewhat bombastic at the bench can sound just fine in the hall. There's no easy way except to listen to the piano in concert from different places in the hall and use your judgement to modify what your instincts tell you at the bench. Otherwise just make sure the piano is reasonably balanced and even. Even them some tastes will vary. 

I don't think the issue can be addressed by experimenting with temperaments.

------------------------------
David Love RPT
www.davidlovepianos.com
davidlovepianos@comcast.net
415 407 8320
------------------------------

Original Message:
Sent: 04-08-2019 23:15
From: Geoff Sykes
Subject: Question: Tone vs projection

Thanks to all for the helpful replies. I have been resisting pressing this point to the church, and you have all verified that this is probably the correct thing to do. It ain't my piano, and it ain't my ears that it needs to satisfy. I agree.

Thanks --

------------------------------
Geoff Sykes, RPT
Los Angeles CA

Original Message:
Sent: 04-08-2019 13:15
From: Geoff Sykes
Subject: Question: Tone vs projection

Two pianos I service are way too bright for my ears. The customer wants to keep them that way because he wants to make sure the pianos can be heard in the back of the room. One of the pianos is a Kawai GS-70, in a really live, tiered choir rehearsal space. Sort of like a very small amphitheater. The other is a Steinway D, in the main worship center, which is quite large. The Steinway is routinely miced during services.

Like I said, I would like to warm both these pianos up a bit to satisfy my ears, but I don't want to recommend, or do something that is not helpful to the situation.

Looking for your thoughts on voicing and projection and recommendations for these two situations.

Thanks --

------------------------------
Geoff Sykes, RPT
Los Angeles CA
------------------------------

Original Message------

Voicing for the hall versus the bench can be challenging. What sounds good at the bench can often be inadequate for the back of the hall and what might sound somewhat bombastic at the bench can sound just fine in the hall. There's no easy way except to listen to the piano in concert from different places in the hall and use your judgement to modify what your instincts tell you at the bench. Otherwise just make sure the piano is reasonably balanced and even. Even them some tastes will vary. 

I don't think the issue can be addressed by experimenting with temperaments.

------------------------------
David Love RPT
www.davidlovepianos.com
davidlovepianos@comcast.net
415 407 8320
------------------------------

Is it possible to have the primary artist listen to the piano at various places in the hall while someone else plays the pianos? In years past I've done this on several occasions. Sometimes the artist says he/she still loves it the way it is. Other times they will say, "OMG! I didn't realize how bad the piano sounds back here." Their choice.

------------------------------
[Delwin D] Fandrich] [RPT]
[Piano Design & Manufacturing Consultant]
[Fandrich Piano Co., Inc.]
[Olympia] [WA]
[360-515-0119]
------------------------------

Original Message:
Sent: 04-09-2019 09:09
From: David Pinnegar
Subject: Question: Tone vs projection

Actually if you haven't tried putting it into an unequal temperament it's not possible to take an opinion on the merits of doing so.

Others commenting on this subject have included Young or Vallotti and I use Kellner.

I've had two people in particular in France who have commented that their pianos sound less harsh upon having changed from standard ET and in particular a Kawai concert grand in England of which the owner and audience to concerts experienced a significant transformation.

Best wishes

David P

--

- - - - - - - - - - - - - - - - - - - - - - - -
David Pinnegar, B.Sc., A.R.C.S.
- - - - - - - - - - - - - - - - - - - - - - - -
+44 1342 850594

Original Message------

Voicing for the hall versus the bench can be challenging. What sounds good at the bench can often be inadequate for the back of the hall and what might sound somewhat bombastic at the bench can sound just fine in the hall. There's no easy way except to listen to the piano in concert from different places in the hall and use your judgement to modify what your instincts tell you at the bench. Otherwise just make sure the piano is reasonably balanced and even. Even them some tastes will vary.

I don't think the issue can be addressed by experimenting with temperaments.

------------------------------
David Love RPT
www.davidlovepianos.com
davidlovepianos@comcast.net
415 407 8320
------------------------------

Tone.. now that is something everyone has their own opinion on.  On reworking the action on our Steinway D we had to file the hammers. initially, the piano had a  brighter sound, some very slight needling and touch up filing brought the sound down slightly, but still brighter than before.  Setting at the piano we wondered if it was still too bright.  On playing the piano and listening from a bit of a distance we realized the sound was actually better,  The bass still had its wonderful power but the upper was now more prominent. The brighter tone carried more of the piano out, expression at the keys was conveyed nicely to the audience.  Remember, a grand piano sounds completely different to  someone listening than to the person playing it. A little bright on a concert piano is a good thing since those highs are the first thing to go away at distance. Now it shouldn't sound like metal.. have heard ones that were way too bright.

------------------------------
Jeffrey Gegner
Tipton IN
765-860-5900
------------------------------

Original Message:
Sent: 04-08-2019 13:15
From: Geoff Sykes
Subject: Question: Tone vs projection

Two pianos I service are way too bright for my ears. The customer wants to keep them that way because he wants to make sure the pianos can be heard in the back of the room. One of the pianos is a Kawai GS-70, in a really live, tiered choir rehearsal space. Sort of like a very small amphitheater. The other is a Steinway D, in the main worship center, which is quite large. The Steinway is routinely miced during services.

Like I said, I would like to warm both these pianos up a bit to satisfy my ears, but I don't want to recommend, or do something that is not helpful to the situation.

Looking for your thoughts on voicing and projection and recommendations for these two situations.

Thanks --

------------------------------
Geoff Sykes, RPT
Los Angeles CA
------------------------------

Aha! This is the kind of conversation I was hoping to learn from. I am aware that the piano sounds very different at the bench than it does for the audience. Standing out from the piano several feet is a great place to record the piano, because that's where the sounds and the reflections start to blend, but I never thought to actually go out into the audience to check it out from that perspective.

------------------------------
Geoff Sykes, RPT
Los Angeles CA
------------------------------

Original Message:
Sent: 04-09-2019 09:14
From: Jeffrey Gegner
Subject: Question: Tone vs projection

Tone.. now that is something everyone has their own opinion on.  On reworking the action on our Steinway D we had to file the hammers. initially, the piano had a  brighter sound, some very slight needling and touch up filing brought the sound down slightly, but still brighter than before.  Setting at the piano we wondered if it was still too bright.  On playing the piano and listening from a bit of a distance we realized the sound was actually better,  The bass still had its wonderful power but the upper was now more prominent. The brighter tone carried more of the piano out, expression at the keys was conveyed nicely to the audience.  Remember, a grand piano sounds completely different to  someone listening than to the person playing it. A little bright on a concert piano is a good thing since those highs are the first thing to go away at distance. Now it shouldn't sound like metal.. have heard ones that were way too bright.

------------------------------
Jeffrey Gegner
Tipton IN
765-860-5900

Original Message:
Sent: 04-08-2019 13:15
From: Geoff Sykes
Subject: Question: Tone vs projection

Two pianos I service are way too bright for my ears. The customer wants to keep them that way because he wants to make sure the pianos can be heard in the back of the room. One of the pianos is a Kawai GS-70, in a really live, tiered choir rehearsal space. Sort of like a very small amphitheater. The other is a Steinway D, in the main worship center, which is quite large. The Steinway is routinely miced during services.

Like I said, I would like to warm both these pianos up a bit to satisfy my ears, but I don't want to recommend, or do something that is not helpful to the situation.

Looking for your thoughts on voicing and projection and recommendations for these two situations.

Thanks --

------------------------------
Geoff Sykes, RPT
Los Angeles CA
------------------------------

Original Message------

Aha! This is the kind of conversation I was hoping to learn from. I am aware that the piano sounds very different at the bench than it does for the audience. Standing out from the piano several feet is a great place to record the piano, because that's where the sounds and the reflections start to blend, but I never thought to actually go out into the audience to check it out from that perspective.

------------------------------
Geoff Sykes, RPT
Los Angeles CA
------------------------------

If the piano is miced, this means the sound is adjusted and balanced by a sound engineer.
The engineer can easily simplify or warm the tone of a bright piano (which is probably not being played very loud, because the sound system provides volume and projection.
But if you "voice down" the piano, the engineer cannot easily brighten it.
Thus, in servicing miced pianos, typical of large churches, be very careful about changing the voicing, as the engineer probably has it adjusted as desired.
I tuned for years for a large choir with piano, harp, strings, winds and drum kit. All the instruments were miced and balanced by the man at the console in the back of the auditorium. When I lightly brushed the hammers, I was told to never change the sound of the piano again.

------------------------------
Ed Sutton
ed440@me.com
(980) 254-7413
------------------------------

Original Message:
Sent: 04-09-2019 10:41
From: Geoff Sykes
Subject: Question: Tone vs projection

Aha! This is the kind of conversation I was hoping to learn from. I am aware that the piano sounds very different at the bench than it does for the audience. Standing out from the piano several feet is a great place to record the piano, because that's where the sounds and the reflections start to blend, but I never thought to actually go out into the audience to check it out from that perspective.

------------------------------
Geoff Sykes, RPT
Los Angeles CA

Original Message:
Sent: 04-09-2019 09:14
From: Jeffrey Gegner
Subject: Question: Tone vs projection

Tone.. now that is something everyone has their own opinion on.  On reworking the action on our Steinway D we had to file the hammers. initially, the piano had a  brighter sound, some very slight needling and touch up filing brought the sound down slightly, but still brighter than before.  Setting at the piano we wondered if it was still too bright.  On playing the piano and listening from a bit of a distance we realized the sound was actually better,  The bass still had its wonderful power but the upper was now more prominent. The brighter tone carried more of the piano out, expression at the keys was conveyed nicely to the audience.  Remember, a grand piano sounds completely different to  someone listening than to the person playing it. A little bright on a concert piano is a good thing since those highs are the first thing to go away at distance. Now it shouldn't sound like metal.. have heard ones that were way too bright.

------------------------------
Jeffrey Gegner
Tipton IN
765-860-5900

Original Message:
Sent: 04-08-2019 13:15
From: Geoff Sykes
Subject: Question: Tone vs projection

Two pianos I service are way too bright for my ears. The customer wants to keep them that way because he wants to make sure the pianos can be heard in the back of the room. One of the pianos is a Kawai GS-70, in a really live, tiered choir rehearsal space. Sort of like a very small amphitheater. The other is a Steinway D, in the main worship center, which is quite large. The Steinway is routinely miced during services.

Like I said, I would like to warm both these pianos up a bit to satisfy my ears, but I don't want to recommend, or do something that is not helpful to the situation.

Looking for your thoughts on voicing and projection and recommendations for these two situations.

Thanks --

------------------------------
Geoff Sykes, RPT
Los Angeles CA
------------------------------

I've had the pleasure, and responsibility, to work with an incredibly wide variety of artists and pianos in the over 40 years I've been servicing pianos. One constant: it's the customer that we're working for who, and is paying us, to ultimately decide all aspects of tone, and touch. Our job is to provide the skill and expertise necessary to give that to them. We work FOR them, and, as many have stated, it's not your piano! 

Brian De Tar, RPT

------------------------------
Brian De Tar
Portland OR
503-201-5482
------------------------------

Original Message:
Sent: 04-08-2019 13:15
From: Geoff Sykes
Subject: Question: Tone vs projection

Two pianos I service are way too bright for my ears. The customer wants to keep them that way because he wants to make sure the pianos can be heard in the back of the room. One of the pianos is a Kawai GS-70, in a really live, tiered choir rehearsal space. Sort of like a very small amphitheater. The other is a Steinway D, in the main worship center, which is quite large. The Steinway is routinely miced during services.

Like I said, I would like to warm both these pianos up a bit to satisfy my ears, but I don't want to recommend, or do something that is not helpful to the situation.

Looking for your thoughts on voicing and projection and recommendations for these two situations.

Thanks --

------------------------------
Geoff Sykes, RPT
Los Angeles CA
------------------------------

Original Message------

I've had the pleasure, and responsibility, to work with an incredibly wide variety of artists and pianos in the over 40 years I've been servicing pianos. One constant: it's the customer that we're working for who, and is paying us, to ultimately decide all aspects of tone, and touch. Our job is to provide the skill and expertise necessary to give that to them. We work FOR them, and, as many have stated, it's not your piano! 

Brian De Tar, RPT

------------------------------
Brian De Tar
Portland OR
503-201-5482
------------------------------