estimate check list

[David Love]

There's no way to have an estimate that covers all possible contingencies,
that's why it's an estimate.  I simply include language that says that "The
total price is an estimate only.  Charges for additional work may occur.
Before any additional work is done, permission from the owner will be
obtained in writing."

Individuals sign the original estimate as an approval and authorization to
do the work.

If there is a change, like a contaminated pin block, I send a new estimate
for the additional work and have them sign approval and send it back.  If
there are additional deposits necessary I ask for them then.

David Love


----- Original Message -----
From: "Dave Nereson" <dnereson@dimensional.com>
To: <pianotech@ptg.org>
Sent: April 15, 2002 1:16 AM
Subject: estimate check list


>     I've tried making estimate check lists in the past, and have never
found
> a happy medium between simple and exhaustive.  If one lists only major
areas
> of service, such as "Case & finish", "Soundboard & bridges", "Keys &
> action", "Tuning, voicing", then details are liable to get left out when
> looking over the piano to do an estimate.  And some details can turn out
to
> be costly, time-consuming cans of worms.
>     Yet to cover any eventuality, all possible repairs, any likely or
> unlikely problems, you'd have to check every single part on the piano and
> list every possible procedure; the estimate sheet would be pages long.
>     I had a two-page one I used for a while that I thought was fairly
> complete, but would still run into things I didn't see in the home.
> (classic example:  after the action's already in the shop, you find out
the
> regulating screws are all "frozen" in the rail and the eyelets break off
> when you try to turn them)  So you either call the customer and tell them
> it's going to be more ("Let-off?  What's that?  Regulating screws?  How
much
> more will it be?  You didn't say anything about that when you looked at
the
> piano.") or you end up "eating" the extra time spent fixing the problem.
>     Sometimes I put an "allowance for unforseen problems" at the end of
the
> estimate, like for strings that break during a pitch raise.  But then, the
> bridge could roll, the soundboard could crack, the plate could crack, the
> pinblock could separate, the tone might be totally different after you've
> filed hammers or voiced, etc.  Then you need these professional contracts
> with disclaimers and waivers in legalese with signatures and dates and
....
> oh jeez, I'm not doing open heart surgery here -- it's just a piano, and
an
> old upright at that.
>     I've managed up to now but still don't have the ideal estimate form /
> check list.   --David Nereson, RPT, Denver
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