stability of pitch raises (Ron's question)

[Farrell]

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
>
>