Avery and list; My question about who should the work be done for was a comment on our own proclivities (all of us). Just as our own notion of the "correct tuning" enters into our work, so does our own notion of the correct voicing or regulation enter into our work. We should always try to satisfy our customers desires even when we may not agree with what they might want. If we can't, or won't, do that then we should refer them to someone who will. Teaching, various subjects, around the country has allowed me to fully appreciate the great diversity of techniques and beliefs as to the "correct way" to do things. Seemingly all of these techs doing things "their way" are making their customers happy (at least they can afford to come to seminars). I have never asked about whether persons in my class played or not but I think I will start doing so and keep a numerical record for a while to get some idea of percentages (playing techs vs. non-players) I can't help but believe that a tech who plays does indeed have a strong tool for his 'kit' that might not be available for one who doesn't play (Wim's "noodling" might make up for this lack). I personally always check my tunings by running scales with major and minor chords, with some noodling thrown in, and the question very seldom arises as to whether I play. Perhaps BT's one page is the answer. I don't know if playing makes a tuner a happier tuner, but I do know that teaching a player to tune just enough to smooth out unisons, and temperament basics, usually makes for a very unhappy player. When this person starts listening to the individual notes of his music rather than the music itself they have lost something of their ability to enjoy their own music. How about some of the 'players' commenting on this ? Jim Bryant (FL)
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