A product of homegrown passion, Augustus Peters loves pan. Born and raised in San Juan, Trinidad and Tobago, Peters began his career as a world-renowned steelpan builder first as a player, developing a passion for the music and unique sounds of the instrument. As a builder, tuner and contributor to the art form, Peters is working to carry forward the tradition of pan in his own unique way.
How did you get started with steel pan?
I actually started playing the steelpan at church at first, then about a week or two afterwards I joined my school steel band, San Juan Secondary Comprehensive School.
Did you begin as a player or a builder first?
I began as a player first then years after learned about making and tuning steelpans.
What made you want to learn and build pan?
It’s not what but who. Miss Ann Marie Harry told me and two other guys from the school steelband, “Y’all learning to play the instrument, so y’all need to learn to make it” – no debating. So she took us to a new pan-manufacturing course that the Pan In Schools Coordinating Council was just starting and registered us. The course started in 2004 and that’s when I started.
Who taught you?
Mr. Jimi Philip taught me initially on the course and even after the course was done, I would check him from time to time and he would show me more stuff to hone my skill. I’ve learned from quite a few people at different stages of my career. Then I went to a company called Panland Trinidad and Tobago, where I learned more about pan making and tuning from Mario Joseph and few of the other tuners there. While at Panland, I would check out another tuner, Gabriel “Doyle” Robley, to observe and ask questions. It was the same thing with Andy Neils.
I also gained some knowhow from Marlon Dewsberry. Then I did an Advanced Steelpan Tuning course at UTT (the University of Trinidad and Tobago) where Reynold ‘Tony Slater’ Gilles, Lenny Leera, Bertie Marshall and Clifford ‘Rope’ Alfred thought me stuff too. Also, all the students on that course learned from one another.
At the end of the course, Bertrand ”Birch” Kelman came in as an external assessor, and we kept in touch afterwards. So currently I’m an understudy with “Birch”. Long story short, although most tuners may learn from one main tuner, you would always learn a thing or two from other tuners along the way and then you develop your own style.
Roughly how many drums have you built in your career?
Wow! A lot! Probably over 500 instruments. It could be more.
What was the first band you ever built pans for or tuned for?
A single pan band called Nostrand Symphony steelband based on St. Paul Street, Port-of-Spain, Trinidad. That would be around 2009.
What was your proudest moment as a pan builder?
Taking a steelpan I did to Mr Kelman and after he began playing it, he said “Wow, this is impressive!” That was definitely a great and memorable moment in my career.
What is your least favorite thing about building pans?
Dealing with ignorant and impatient customers. People need to understand that building and tuning a proper steelpan instrument is a time consuming task and if they want the best quality product, it takes time.
What do you hope changes in the future regarding the steelpan industry?
Definitely, how some players “BEAT” the instrument. Play the instrument properly. I hope we have easier access to quality raw material for making new instruments in Trinbago.
How do you feel about the state of pan in the world?
I think steelpan on a global scale is doing great. The culture of pan is being spread far and wide. Even in places you wouldn’t have expected to adopt pan. So I think, steelpan is really doing well internationally.
What are your goals with your business?
My business goals are to make a decent living, to supply high quality instruments mainly for soloists and keeping the culture alive in Trinidad & Tobago.
How do you plan to get to them?
Work hard, stick to my plans, invest, reinvest and create opportunities for young people to get involved.
What do you consider your signature contribution to the steelpan, such as your style or a design you came up with that no one else has?
I don’t have a new design or style, but I am working on improving some of the previous ideas of past tuners, e.g. lower ranges tenor pans on regular sized drums or getting a better sound quality on painted or powder coated pans. But that will come in time. For now, my contribution is in continuing the legacy of the great tuners that came before me.
