Yes, exactly. Terry Farrell ----- Original Message ----- From: "David Love" <davidlovepianos@earthlink.net> To: <pianotech@ptg.org> Sent: Sunday, September 02, 2001 3:53 PM Subject: Re: stability of pitch raises (Ron's question) > I use an ETD and do not do 2 pass tunings. If you are not confident in > stability and accuracy the first time through it seems a waste of time. That > being said, however, in a concert/recording or other critical situation, I > will, invariably, go through a second time more carefully and check my work, > progressions and intervals, even though I always go through and check > unisons after I am done. (By the way, for concerts and recording sessions I > do charge slightly more because I pay attention to more details: voicing, > regulation etc..) This is not nearly so time consuming as doing a rough > pass for a pitch raise followed by a second fine tuning and so for that I > charge more (about half a tuning). I would guess that those who do two pass > tunings are not having to move and set every note again--what would be the > point of the first tuning if it was so sloppy that you had to do it over > again completely. Therefore, their second pass is appreciably less work > than a full pitch raise and fine tuning. Thus, a charge for the pitch raise > would be in order. > > David Love > > > ----- Original Message ----- > From: "Ron Nossaman" <RNossaman@KSCABLE.com> > To: <pianotech@ptg.org> > Sent: September 02, 2001 11:33 AM > Subject: Re: stability of pitch raises (Ron's question) > > > > OK folks, > > I got a couple of good responses to the actual question early on, but this > > has once again wandered off into a series of answers not relating to the > > question asked. The question was, and still is: > > > > ************************************************************************ > > If folks are habitually doing two pass tunings anyway, and since they're > > probably using an ETD that does pitch raises within a couple of cents of > > dead on in one pass (as we read repeatedly), why would they find it > > necessary to charge anything above the cost of a tuning for a pitch > > adjustment? > > *********************************************************************** > > > > I do, believe me, understand that it takes longer and is more work to do a > > two pass pitch raise and tuning than a one pass tuning. I also understand, > > believe me, that you can't do a substantial (no numbers, just somewhere > off > > pitch) pitch correction as accurately in one pass as in two. That's why I > > didn't ask that particular question - nor am I likely to. I am, in > > practice, an active tuner/technician, and live this stuff on a daily basis > > so I'm quite familiar with the reactions of pianos to pitch adjustments. I > > don't need the sales pitch, I'm merely asking for an explanation answering > > my question. If anyone is interesting in clearing this up for me, please > > read the question again and, if what you habitually do corresponds to the > > question in that you (1) habitually do two pass tunings, (2) tune with an > > ETD, and (3) charge extra for pitch adjustments, I'd like to hear your > > reasoning justifying the extra charge. > > > > I also asked another related question regarding how those who charge for > > pitch adjustments based on how far off pitch the piano is, determine how > > far off pitch the piano is. I still haven't gotten an answer on this one, > > which baffles me. This has gotten so much traffic through the years that I > > was sure I'd get a veritable avalanche of cogent and clever methods from > > those who habitually quote cents deviation in their posts about pitch > > adjustments. How can one compute charges on something they can't define? > > > > Maybe it's just me, but I find honest answers to these sort of simple > > fundamental questions to be far more valuable, as well as far more > > difficult to get, than information on how to get tape residue off of > keytops. > > > > Ron N > >
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