Ditto. Jon Page At 11:15 AM 7/5/98 EDT, you wrote: >In a message dated 7/5/98 6:52:29 AM Central Daylight Time, >rootfamily@erols.com writes: > ><< Fourteen cards!? Now there's a puzzler. The standard joke around here > is that we use the card stock to shim key slips, grand actions, etc. > :-) >> > >That's what I use them for too, when needed. I have a collection of about 300 >cards and also a mayonnaise jar full of pre-1965 coins that I have found in >pianos. > >The piano dealer I work for keeps a computer file of everything that was done >on each piano, each time. But for my own customers, I keep no records other >than the invoice which I fill out and seldom refer to later. When I come to >the piano the next time, I seem to remember everything about it. If it has >been a long time, what does it matter then? What matters today is its present >condition, not what might have been done or not been done any time in the >past. Not wanting to sound arrogant, so no offense to Ron but I have always >considered dates or anything else written in a piano to be "graffiti" and as >such, is defacing to the instrument. > >When another tuner comes across a piano that I have cared for and finds it >clean, well aligned and regulated, up to pitch but in an *unequal* >temperament, he/she will know who was there last. I can tell who has been >there last as well when I find a dirty, unattended action, off-pitch, reverse- >well temperament condition. If there have been "repairs", those often serve >as a "calling card" in themselves. The name might as well be written on it. > >It is surprising how very often, the most substandard work is accompanied by >either a calling card or graffiti. I'm with those who make what were recently >called "invisible" repairs. The only difference between the hammer shank or >the string that is replaced is the lack of patina on the new material. Clean, >in order, up to pitch in a musical tuning is the calling card that I prefer to >leave. > >Bill Bremmer RPT >Madison, Wisconsin > >
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