Il giorno 4 mag 2021, alle ore 14:16, Douglas Mahard <email@example.com> ha scritto:Hello,This might be an unuasal request but I was wondering what kind of piano Mr. Ludovico used in his beautiful score of the movie Nomanland? Also who the piano technician was. One of the best sounding recorded pianos I have ever heard. Just gorgeous.Thank you.Doug MahardMahard's Piano Service, LLCBethlehem, CT
Ed Whitting, RPT
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Very interesting. Although I'm sure I'm the one to be the mouthpiece for this issue. Judging from the responses to this thread, those who do the high level concert work got the gist of what I was putting across the table. They too, are tired of the low regard our craft represents to the big recording and media industry. Let's keep this discussion going....
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Thanks for sharing your experiences. I think this is a discussion worth trying to get some momentum. The important elements we bring to the live performance is vital to the performance and should not be overlooked. This is not an ego issue, but more of basic fairness. The venues get it, as do the touring artists who go from one venue to another. If your work measures up to the national level, by all means, you've earned the right to be credited for your work.
I have a standing verbal agreement with my concert venues and recording studios. I get a mention for the exclusive recordings when a full CD is being recorded, and/or if the piano is being used as a solo, I get a mention in the program. I'm not looking for royalties, just some basic recognition stating my involvement in this performance/recording.
I think the film industry is probably overwhelmed with the royalty issues and assumed this why so many names are mentioned. If the film does well, so do all of the people who are involved. But again, when the piano happens to play a huge role in defining the beauty of the movie, in this case I was talking about "Nomadsland", it's rather obvious that he piano tech should have been given a thumbs up on the credits.
Thank you, Thomas, for raising this important topic. How we are seen by others in the music world is within our ability to influence, and a subject that is near and dear to my heart. In fact, it was focus of an article that I submitted to the Journal almost 8 years ago, which was ultimately rejected for publication due to the objection of some members of the Editorial Staff. It was felt at the time that the content of the piece did not conform strictly to the journalistic standards of the day.
For anyone interested, the article, "A Day in the Life" is still available in the CAUT "Blog" platform of ptg.org. I'm as proud of its message now as the day it was submitted.