Piano to Univ tech formula

[JHarvey440@aol.com]

A global thanks to all who replied to my "ratio" inquiry to date. Apparently
there is still some disagreement, if not controversy, on what are reasonable
expectations -- depending on the person being asked. At least Newt's reply
and the tips about the PTG house organ will help me get a feel for it.

With my relatively new experiences at working for colleges/universities as an
independent agent, I can quickly and easily understand the obstacles y'all
face. I also understand that it's not enough to be a piano technician -- that
you must wear different hats: politician, diplomat, accountant, counselor,
and phychologist to mention a few.

The following is not an attempt to upstage or challenge anyone's work load;
rather, to explain my naiivity in asking my original question. If it permits
some of you count your blessings, so much the better.

One would think that my being a staff tech for Los Angeles City Schools would
be a good rule-of-thumb -- that I would not have needed to post my initial
"ratio" question. LAUSD was -not- a good reference for me to use for C&U's.
George Defebaugh used to chastise me (all of us actually) for not having the
same service "route" as he and his peers did in the "old days" when he worked
there.

It was simple: during his tenure, there were -nine- full-time technicians
with (xxx) pianos in the district. At some point, when a technician would
retire/leave, the vacant position was not necessarly filled, but somehow
budget was found to buy *more* pianos.

By the time I arrived, there were six technicians, one whose tenure permitted
him a reduced work load for being a "straw-boss" or group leader. There were
800-plus schools and (as near as we could figure out) 3200-plus pianos,
(effectively) divided by five and 1/2 technicians. We were in charge of
everything that happened to our respective group of pianos, with the
exception of moving and refinishing. Quick ciphering indicates that we were
reduced to little more than putting out fires.

The damage that happened to pianos due to vandalism in K through 14 schools
also seems to have changed over time. I'll cite two of countless instances:

1. one of my co-workers spent about a year rebuilding a grand. He really
wanted to make it "special", but that's not what took so long. He worked on
it in when time permitted while maintaining his regular work load. Two days
after the piano was delivered back to the school, someone poured the contents
from a five-gallon bucket of paint inside the instrument.

2. in one of my schools, a few students wondered what would happen to a
six-foot Kawai when pushed off the edge of an eight-foot (high) stage. The
rim peeled off like a sardine can, and -nothing- remained on the underside of
the piano. Ironically, the piano was still at pitch and reasonably in tune.
While this piano was "under construction", its twin was moved from the choral
room to the auditorium. In case you're wondering... yep, this one was pushed
over the edge as well. The perpetrators were known... and severely
reprimanded.

Nothing of this nature has happened to me (knock wood) on the C&U circuit.
Wear, damage, accidents, and perhaps occasional intitials carved in a case...
but not willful, malicious destruction.

Perhaps the most significant difference to me involves pianos only
indirectly. In the C&U environment, I'm at least able to see, hear, touch and
communicate with those that *use* the instruments. While this often requires
one or more of the different "hats" mentioned above, it's better for my ego
than the other environment.

-Jim Harvey

"James Lewis, get away from that wheelbarrow. You know you doesn't know
nothing about machinery!" - Brother Dave Gardner