<div dir="ltr">Hi list,<br>Thanks to everyone for the bass tuning suggestions~now I can fine tune my technique. Ahhhh...bad pun.<br>Jon<br><br><br><div class="gmail_quote">On Sat, Jul 19, 2008 at 8:07 AM, <<a href="mailto:pianotech-request@ptg.org">pianotech-request@ptg.org</a>> wrote:<br> <blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">Send Pianotech mailing list submissions to<br>        <a href="mailto:pianotech@ptg.org">pianotech@ptg.org</a><br> <br> To subscribe or unsubscribe via the World Wide Web, visit<br>        <a href="https://www.moypiano.com/resources/#archives" target="_blank">https://www.moypiano.com/resources/#archives</a><br> or, via email, send a message with subject or body 'help' to<br>        <a href="mailto:pianotech-request@ptg.org">pianotech-request@ptg.org</a><br> <br> You can reach the person managing the list at<br>        <a href="mailto:pianotech-owner@ptg.org">pianotech-owner@ptg.org</a><br> <br> When replying, please edit your Subject line so it is more specific<br> than "Re: Contents of Pianotech digest..."<br> <br>Today's Topics:<br> <br>   1. Sostenuto wars and tone of discourse (was: ...oh forget<br>      it...) (Israel Stein )<br>   2. Re: question for aural tuners (Allen Wright)<br>   3. Re: question for aural tuners (John Formsma)<br>   4. Re: [CAUT] Sostenuto wars and tone of discourse (Ron Nossaman)<br>   5. Chickering grand piano for sale (John Formsma)<br>   6. Re: Chickering grand piano for sale (<a href="mailto:JWyatt1492@aol.com">JWyatt1492@aol.com</a>)<br>   7. Re: Rebushing (was Re: Transporting a Grand Action) (Matthew Todd)<br>   8. RE: A new vision  <OT> (Garret Traylor)<br> <br><br>---------- Forwarded message ----------<br>From: <a href="mailto:custos3@comcast.net">custos3@comcast.net</a> (Israel Stein )<br>To: <a href="mailto:pianotech@ptg.org">pianotech@ptg.org</a><br>Date: Fri, 18 Jul 2008 19:15:19 +0000<br> Subject: Sostenuto wars and tone of discourse (was: ...oh forget it...)<br>Friday, July 18, 2008 11:00:44 AM Ron Nossaman wrote<br> <br> >>There are<br> >> issues to discuss here, and priorities to be balanced - so<br> >> there is no reason to dismiss those who disagree with you<br> >> as those who "accept the status quo of the Steinway<br> >> sostenuto system". There are good reasons for maintaining<br> >> them, from some perspectives.<br> <br> >Oh, you want perspective? How many Steinways are in concert<br> >situations in institutions, as opposed to those in less<br> >critical and less time constrained use in educational<br> >institutions, churches, and homes?<br> <br> I'll grant you homes. In all other institutional settings time constraints are a<br> constant reality. I would rather not spend the time getting past the sostenuto.<br> There is always triage going on - I would rather spend my time on things that<br> actually improve the function of the piano rather than getting past something<br> that is there purely for convenience in a rarely performed procedure.<br> <br> >So what would be the<br> >realistic usage percentage justification for the concert<br> >access story?<br> <br> Ah, Ron you should have been in politics - you are a master of framing. There<br> are a lot more time-pressure type venues than just concerts. Ever try to keep a<br> classroom or studio piano at a university in anything resembling acceptable<br> condition? Access is always an issue and when you do get access - you don't have<br> a minute to spare. And the same goes for various professional venues.<br> <br> <br> >Also, if the action mounted sostenutos are kept<br> >for the concert techs, why are they on the Ms, the Os, the Ls?<br> <br> See above.<br> <br> >Are there many high pressure concert venues using Ms these<br> >days? Like most things Steinway, there seems to be a whole lot<br> >more emotional froth generated, than rational connections.<br> <br> And this is precisely why I berated you the way I did - you insist on dismissing<br> those whose opinion differs from yours as engaging in some sort of Steinway<br> induced "froth". Steinways are problematic instruments in many ways - but that<br> sostenuto is not one of the problems, in my opinion. Based on years of experience.<br> <br> RN<br> >> >And being ignorant of the give and take of the formal<br> >> educational process, having acquired my apparently sub<br> >> standard education outside an institutional setting?<br> <br> IS<br> >>No. Just a lack of respect for approaches other than your<br> >> own...<br> <br> >You mean like you're showing me?<br> <br> Just returning the favor. Got tired of your dismissiveness of others (as<br> demonstrated above) and that tirade against formal education pushed me over the<br> edge.<br> <br> RN<br> >> And being myopic in my inability to understand the value<br> >> of knowledge acquired from others in a give and take<br> >> instructor/student setting?<br> <br> IS<br> > I think your original message reeks of that attitude -<br> > where you dismiss knowledge acquired in institutional<br> > settings in a rather jaundiced peroration... I took it as<br> > an attack on all those who attempt to teach and learn in<br> > that manner - and tried to give you a taste of your own<br> > medicine. How does it feel to be painted with a broad<br> > brush?<br> <br> RN<br> >>I most typically am, by those that don't know me and make<br> >>emotionally based snap judgments from something they believe I<br> >>said.<br> <br> It's not what you say Ron - you are entitled to your opinion just like everyone<br> els - it's how you say it. You can make your point without dismissing the<br> opinions of others as somehow being "froth" or - by imp[lication - noit being<br> based on observation or experience. You don't have a monopoly on those...<br> <br> IS<br> >> That remark was aimed not at you personally - but at the<br> >> customary way in which an awful lot of technicians gain<br> >> their knowledge. Perhaps you only screwed up pianos for a<br> >> few months. Or perhaps you got it right on the first try -<br> >> I mean you are a pretty smart guy...  Or did someone show<br> >> you how?<br> <br> RN<br> >You're joking, right? EVERYBODY showed me how, as well as how<br> >not. Are you actually under the delusion that everyone who<br> >didn't have institutional training from the beginning is<br> >operating in a total vacuum?<br> <br> Precisely the point I was trying to make about your tirade damning academically<br> acquired knowledge as worthless.<br> "The fact is that anyone incapable of learning without being taught is doomed to<br> run their programming forever because they'll never overcome their ! education -<br> or rather someone else's education that was installed in them." Just as<br> preposterous a statement as the one of mine that you object to.<br> <br> RN<br> >You do seem to be of the impression that my opinions and ideas<br> >of how things work come to me in dreams, and I go into the<br> >world to shout it into compliance with my "vision". Not so. My<br> >current and ever changing opinion set is a distillation of<br> >ideas I've accumulated everywhere through the years, from<br> >everyone. Even from you, since I don't consider the validity<br> >of information to be dependent on it's source.<br> <br> And if you could accord the same courtesy to those who may disagree with you -<br> that perhaps their opinions and approaches might just be  a "distillation of<br> ideas (they have) accumulated everywhere through the years, from<br> everyone" - rather than dismissing them as "froth" or in some other biting<br> remark that you are oh so good at (I do get an occasional chuckle) then there<br> would be no problem...<br> <br> Israel Stein<br> <br> <br><br>---------- Forwarded message ----------<br>From: Allen Wright <<a href="mailto:akwright@btopenworld.com">akwright@btopenworld.com</a>><br>To: Pianotech List <<a href="mailto:pianotech@ptg.org">pianotech@ptg.org</a>><br> Date: Fri, 18 Jul 2008 20:38:21 +0100<br>Subject: Re: question for aural tuners<br><div style=""> Jon,<div><br></div><div>One of my favorite listening tests in the bass for consistency of octave size on the way down is the beats that are created in the octave at the 10-5 level, which  are quite noticeable (especially in medium to small pianos). They get pretty slow on larger grands, but still useable most of the way down - even if it's just to see what side of the 10-5 you're on). The contiguous partials that you'll hear beating are at the pitch of three octaves and a third up from the bottom note of the octave; play that note softly first in order to get the pitch fixed before you listen for it in the octave, if you're unsure how to hear it.</div> <div><br></div><div>You can combine that with the m3-M6 test inside the octave (once you've found an octave size that you like by the sound of it in terms of clarity and tone) in order to start a pattern of slight descending beat speeds with the 10-5 test. I hope that makes sense. Anything that helps you stick to some sort of pattern that will give you consistent octave size on the way down.</div> <div><br></div><div>Because that's what we're going for, isn't it? If one octave beats at, say 2 bps at the 10-5 level, and then the next octave down is more expanded so that it's beatless, then those two octaves sound quite different (because all the other contiguous partials that have any activity are all beating at different rates, so the quality of sound of those two octaves is quite different).</div> <div><br></div><div>It's all partly a matter of choice and taste, but at least we should make the choice consistent. I find those two tests the most useful for me in the bass section on most pianos I tune.</div><div><br> </div><div>Good luck,</div><div><br></div><div>Allen Wright</div><div><br></div><div><br><div><div>On Jul 18, 2008, at 2:55 PM, Michael Magness wrote:</div><br><blockquote type="cite"><div dir="ltr"><br><br> <div class="gmail_quote"> On Fri, Jul 18, 2008 at 3:09 AM, Willem Blees <<a href="mailto:wimblees@aol.com" target="_blank">wimblees@aol.com</a>> wrote:<br> <blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0px 0px 0px 0.8ex; padding-left: 1ex;"> Jon<br><br>A lot has to do with the quality of the piano. For good quality grands, I use the checks you do, or the two octave and a 7th. On less quality grands and most vertical pianos, I mostly listen to octaves and double octaves.  <br> <br> <div style="clear: both;">Willem (Wim) Blees, RPT<br>Piano Tuner/Technician<br>Honolulu, HI<br>808-349-2943<br><a href="http://www.bleespiano.com/" target="_blank">www.bleespiano.com</a><br>Author of <br>The Business of Piano Tuning<br> available from Potter Press<br><a href="http://www.pianotuning.com/" target="_blank">www.pianotuning.com</a></div> <div> <div></div> <div><br><br>-----Original Message-----<br>From: Jonathan Golding <<a href="mailto:jgmdpiano@gmail.com" target="_blank">jgmdpiano@gmail.com</a>><br> To: <a href="mailto:pianotech@ptg.org" target="_blank">pianotech@ptg.org</a><br> Sent: Thu, 17 Jul 2008 4:07 pm<br>Subject: question for aural tuners<br><br> <div> <div dir="ltr">When tuning the last octave of the piano's bass section I would like to know people's opinions on how they get the best results. For me, I find this a tricky area to get consistently good results. Some bass strings sound dead whereas others are harsh sounding and some have lots of overtones. As well, each piano seems to have a different amount of stretch to take into consideration.  When tuning the last octave I usually check using the Maj 17th against the Maj 10th for approximate equal beating. When I play the octaves together harmonically I find that this leaves the last octave sounding too high to my ear. Any comments or suggestions? Any single partial for this area which could be helpful?<br> Thanks, Jon<br></div></div></div></div> <div><font style="font-family: ARIAL,SAN-SERIF; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adjust: none; font-stretch: normal; color: black;"> <hr style="margin-top: 10px;"> The Famous, the Infamous, the Lame - in your browser. <a title="http://toolbar.aol.com/tmz/download.html?NCID=aolcmp00050000000014" href="http://toolbar.aol.com/tmz/download.html?NCID=aolcmp00050000000014" target="_blank">Get the TMZ Toolbar Now</a>!</font> </div> </blockquote></div> <div><br>Hi Jon,</div> <div>I have to agree with Willem that the quality will dictate which method works best, I have also discovered since I began using them that earplugs (20db) help cut down on some of the "garbage" allowing me to hear more easily what I trained myself for over 35 years to find among that "garbage". I use the maj 17th as a final check "walking" up the keyboard and listening for that smooth progression of beat rates. When I find one that is faster or slower I check it for tune and begin again.</div> <div> </div> <div>Mike<br clear="all"><br>-- <br>Perfection is not attainable, but if we chase perfection we can catch excellence. <br>Vince Lombardi<br><br>Michael Magness<br>Magness Piano Service<br>608-786-4404<br><a href="http://www.IFixPianos.com" target="_blank">www.IFixPianos.com</a><br> email <a href="mailto:mike@ifixpianos.com" target="_blank">mike@ifixpianos.com</a> </div></div></blockquote></div><div><span style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><br> <div><br></div><br></span></span><br></span></span> </div><br></div></div><br><br>---------- Forwarded message ----------<br>From: "John Formsma" <<a href="mailto:formsma@gmail.com">formsma@gmail.com</a>><br> To: "Pianotech List" <<a href="mailto:pianotech@ptg.org">pianotech@ptg.org</a>><br>Date: Fri, 18 Jul 2008 15:09:36 -0500<br>Subject: Re: question for aural tuners<br><div dir="ltr"><div class="gmail_quote"> On Thu, Jul 17, 2008 at 9:07 PM, Jonathan Golding <<a href="mailto:jgmdpiano@gmail.com" target="_blank">jgmdpiano@gmail.com</a>> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"> <div dir="ltr">When tuning the last octave of the piano's bass section I would like to know people's opinions on how they get the best results. For me, I find this a tricky area to get consistently good results. Some bass strings sound dead whereas others are harsh sounding and some have lots of overtones. As well, each piano seems to have a different amount of stretch to take into consideration.  When tuning the last octave I usually check using the Maj 17th against the Maj 10th for approximate equal beating. When I play the octaves together harmonically I find that this leaves the last octave sounding too high to my ear. Any comments or suggestions? Any single partial for this area which could be helpful?<br> <br></div> </blockquote></div><br>It should go without saying that the better your tuning in the midrange is, the better it will be in the bass.<br><div><br><div>Generally, I'd say (at first) listen to bass octaves at the 6:3 partials.  That at least gets you in the ball park.  Rough it in, then refine, right? (I tune the bass a tad wider than this on many pianos.)   The more you tune, the quicker you hear the right spot for that piano.  And the fewer tests that have to be done.<div> <br></div><div>I'm finding 4ths and 5ths useful all the way down to the lowest octave.  They're helpful for roughing it in.  You can also use the double octave and octave-fifth to refine.  E.g. C2-C4 and C2-G3.  Get them to beat equally, and you'll be fine.  These are harder to hear in the low bass, but there are other tests that can take over when this one is no longer useful.</div> <div><br></div><div>There is a point in the scale at which the 12:6 partials become prominent.  This can be tricky because it is the same pitch as the 6:3 partial except an octave higher.  As you're listening for the 6:3, the 12:6 call for your attention. But tuning the 12:6 partials beatless is mainly only for the concert grands.  Just be careful of getting off track by tuning the 12:6 beatless.</div> <div><br></div><div>To help against doing that, always be comparing double, triple, and quadruple octaves.  And listen quickly to the octave-fifth and double octave-fifths.</div><div><br></div><div>After the octaves sound good, like Wim said ... do the descending double-octave and seventh.  Or, the octave-seventh.  I start at C2-A#3, and go down, listening for even progression.  Your mistakes will show up clearly with this test.<br clear="all"> <br>-- <br>JF </div></div></div></div> <br><br>---------- Forwarded message ----------<br>From: Ron Nossaman <<a href="mailto:rnossaman@cox.net">rnossaman@cox.net</a>><br>To: Pianotech <<a href="mailto:Pianotech@ptg.org">Pianotech@ptg.org</a>><br> Date: Fri, 18 Jul 2008 15:26:04 -0500<br>Subject: Re: [CAUT] Sostenuto wars and tone of discourse<br><br> > I'll grant you homes. In all other institutional settings<br> > time constraints are a constant reality. I would rather not<br> > spend the time getting past the sostenuto.<br> <br> Which is the real reason for all this, because you'd rather not spend the time.<br> <br> <br> > Ah, Ron you should have been in politics - you are a master<br> > of framing. There are a lot more time-pressure type venues<br> > than just concerts. Ever try to keep a classroom or studio<br> > piano at a university in anything resembling acceptable<br> > condition? Access is always an issue and when you do get<br> > access - you don't have a minute to spare. And the same<br> > goes for various professional venues.<br> <br> Yes, I have and do, though not as an employee. There are, incidentally venues other than schools. I'd bet that there are more pianos in churches than in educational institutions, where time is obtainable by scheduling it. Some will even turn on the air conditioning and stop vacuuming for you.<br> <br> <br> >> Also, if the action mounted sostenutos are kept for the<br> >> concert techs, why are they on the Ms, the Os, the Ls?<br> ><br> > See above.<br> <br> See above.<br> <br> <br> > And this is precisely why I berated you the way I did - you<br> > insist on dismissing those whose opinion differs from yours<br> > as engaging in some sort of Steinway induced "froth".<br> > Steinways are problematic instruments in many ways - but<br> > that sostenuto is not one of the problems, in my opinion.<br> > Based on years of experience.<br> <br> I'm talking information, you're talking personal vendetta, nearly as I can tell. The change in subject line is a pretty good indication of your position.<br> <br> ---------------------------<br> <br> > Precisely the point I was trying to make about your tirade<br> > damning academically acquired knowledge as worthless. "The<br> > fact is that anyone incapable of learning without being<br> > taught is doomed to run their programming forever because<br> > they'll never overcome their ! education - or rather<br> > someone else's education that was installed in them." Just<br> > as preposterous a statement as the one of mine that you<br> > object to.<br> <br> That was in response to the nonsense notion that people can't learn without being taught, not a damning of academically acquired knowledge, which you should know, having presumably read the posts and my previous explanation(s).<br> <br> Well, it doesn't seem to matter what I say, as none of my points seem to have any meaning for you, so I'll give up short of finding out what else you'll have me saying that's convenient to you.<br> <br> Have a nice day,<br> Ron N<br> <br> <br><br>---------- Forwarded message ----------<br>From: "John Formsma" <<a href="mailto:formsma@gmail.com">formsma@gmail.com</a>><br>To: "Pianotech List" <<a href="mailto:pianotech@ptg.org">pianotech@ptg.org</a>><br> Date: Fri, 18 Jul 2008 14:34:06 -0500<br>Subject: Chickering grand piano for sale<br><div dir="ltr">7' 6" piano made around 1904.  Soundboard is dead. I.e., very little volume for what it should be.  It appears to have been restrung at some point (the owner thinks 30+ years ago before she purchased it.)<div> <br></div><div>There is some finish damage, which is evident in the photos.</div><div><br></div><div>It needs a complete restoration (obviously), although it is currently usable (though not enjoyable).  The tuning pins are on the loose side, but it still holds a tuning OK.<br clear="all"> <br></div><div>Photos are at <a href="http://gallery.me.com/jformsma" target="_blank">http://gallery.me.com/jformsma.</a></div><div>(Single click on an image to enlarge it.)</div><div><br></div><div>Owner will consider all offers.  The piano truck can go with the piano or separately (anyone ever buy those things used? I dunno.)</div> <div><br></div><div>Contact me directly with any offers or questions.  My email address is <a href="mailto:formsma@gmail.com" target="_blank">formsma@gmail.com</a></div><div><br></div><div>-- <br></div><div>JF </div></div> <br><br>---------- Forwarded message ----------<br>From: <a href="mailto:JWyatt1492@aol.com">JWyatt1492@aol.com</a><br>To: <a href="mailto:pianotech@ptg.org">pianotech@ptg.org</a><br>Date: Fri, 18 Jul 2008 18:32:16 EDT<br> Subject: Re: Chickering grand piano for sale<br> <div style="font-size: 10pt; color: rgb(0, 0, 0); font-family: Arial;"><font color="#000000" face="Arial" size="2"> <div>Hello ,</div> <div> </div> <div>  Is this a scale  123.  and where is it..</div> <div> </div> <div>Jack Wyatt</div> <div>Dallas</div></font><br><br><br><div><font style="color: black; font-family: ARIAL,SAN-SERIF; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adjust: none; font-stretch: normal;"><hr style="margin-top: 10px;"> Get fantasy football with free live scoring. <a title="http://www.fanhouse.com/fantasyaffair?ncid=aolspr00050000000020" href="http://www.fanhouse.com/fantasyaffair?ncid=aolspr00050000000020" target="_blank">Sign up for FanHouse Fantasy Football today</a>.</font></div> </div> <br><br>---------- Forwarded message ----------<br>From: Matthew Todd <<a href="mailto:toddpianoworks@att.net">toddpianoworks@att.net</a>><br>To: Pianotech List <<a href="mailto:pianotech@ptg.org">pianotech@ptg.org</a>><br> Date: Fri, 18 Jul 2008 15:46:43 -0700 (PDT)<br>Subject: Re: Rebushing (was Re: Transporting a Grand Action)<br><div>It is a Baldwin Grand.  I do not have the clients info in front of me to let you know more specs.</div> <div>  </div> <div>I thing I am going to be addressing is the evenness throughout the keyboard.  Needs work.</div> <div> </div> <div>Other things about this piano need addressing later on, but I am here to work with my clients budget.</div> <div> </div> <div>I apologize if my previous e-mail made it sound like I may not be sure what I am doing.  Besides, if I hired a mentor to come look at the situation, I would need to put the added cost to the customers bill, and I had already given him my quote :-).  It was just a curious question, because I surely would be the first to opt out of rebushing.</div> <div> </div> <div> </div> <div>Thanks,</div> <div>Matthew<br><br><b><i>J Patrick Draine <<a href="mailto:jpdraine@gmail.com" target="_blank">jpdraine@gmail.com</a>></i></b> wrote:</div> <blockquote style="border-left: 2px solid rgb(16, 16, 255); padding-left: 5px; margin-left: 5px;"> <div dir="ltr">Matthew, <div>Could you tell us a bit more about the piano? Are the center pins wandering right out of the flanges? Are flanges frozen? Is this a 10 year old Samick or a 75 year old Aeolian stencil grand? How's everything else about this piano? </div> <div>And do you have a mentor you have can take a look at the action before you get to work? </div> <div><br></div> <div>Patrick Draine<br><br> <div class="gmail_quote">On Fri, Jul 18, 2008 at 8:22 AM, Matthew Todd <<a href="mailto:toddpianoworks@att.net" target="_blank">toddpianoworks@att.net</a>> wrote:<br> <blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0px 0px 0px 0.8ex; padding-left: 1ex;">When you repin, when do you decide to rebush the flange as well.  Unless, of course, you damage the bushing during repinning, how do you decide to rebush the entire set?<br> <br><br>Matthew</blockquote></div></div></div></blockquote><br><br><br>---------- Forwarded message ----------<br>From: "Garret Traylor" <<a href="mailto:hpp@highpointpiano.com">hpp@highpointpiano.com</a>><br> To: "'Pianotech List'" <<a href="mailto:pianotech@ptg.org">pianotech@ptg.org</a>><br>Date: Fri, 18 Jul 2008 19:07:22 -0400<br>Subject: RE: A new vision <OT><br> <div link="blue" vlink="purple" lang="EN-US"> <div> <p><span style="font-size: 10pt; color: navy;">As Wim said, give your old glasses to the Loins Club International; your local optician can probably take them for you on their behalf.  The Lions Club is a great organization, if ya'll are not too busy working on pianos, look up one of the local clubs.  It is very rewarding organization to join and get involved with.</span></p> <p><span style="font-size: 11pt; color: black;">Kindest Regards,</span></p> <p><span style="font-size: 11pt; color: black;">Garret </span></p> <p><span style="font-size: 11pt; color: black;">---</span></p> <p><span style="font-size: 10pt; color: navy;"> </span></p> <div style="border-style: solid none none; border-color: rgb(181, 196, 223) -moz-use-text-color -moz-use-text-color; border-width: 1pt medium medium; padding: 3pt 0in 0in;"> <p><b><span style="font-size: 10pt;">From:</span></b><span style="font-size: 10pt;"> <a href="mailto:pianotech-bounces@ptg.org" target="_blank">pianotech-bounces@ptg.org</a> [mailto:<a href="mailto:pianotech-bounces@ptg.org" target="_blank">pianotech-bounces@ptg.org</a>] <b>On Behalf Of </b>Willem Blees<br> <b>Sent:</b> Friday, July 18, 2008 1:28 PM<br> <b>To:</b> <a href="mailto:rrg@unlv.nevada.edu" target="_blank">rrg@unlv.nevada.edu</a>; <a href="mailto:pianotech@ptg.org" target="_blank">pianotech@ptg.org</a><br> <b>Subject:</b> Re: A new vision <OT></span></p> </div> <p> </p> <p style="margin-bottom: 12pt;">Rob<br> <br> My son and daughter in law have had lasik surgery, and love it. His boss, unfortunately, had a very bad experiment, and has never been able to see right. But that was 15 years ago. I am sure they've perfected the surgery.<br> <br> As far as what to do with your glasses. the Lions Club used to take used glasses and give them to those who can't afford new ones. I don't know if they still do that, however, but it might be worth looking into. Other wise, maybe you can paint them black, and stand on a street corner with a tin cup. </p> <div> <p style="margin-bottom: 12pt;">Wim<br> <br> -----Original Message-----<br> From: Rob & Helen Goodale <<a href="mailto:rrg@unlv.nevada.edu" target="_blank">rrg@unlv.nevada.edu</a>><br> To: Pianotech List <<a href="mailto:pianotech@ptg.org" target="_blank">pianotech@ptg.org</a>><br> Sent: Fri, 18 Jul 2008 6:13 am<br> Subject: A new vision <OT></p> </div> <div> <div> <p><span style="font-size: 10pt;"><Off Topic></span></p> </div> <div> <p> </p> </div> <div> <p><span style="font-size: 10pt;">Well I finally decided to do it.  After 20 years of wearing glasses I'm getting LASIK surgery on my eyes.  Yesterday I went in for the complete pre-op exam and today at 11:00 I have the actual procedure.  They tell me that the time in the chair is 10 minutes total but the actual physical work is only about one minute per eye.  Pretty amazing stuff.  It's all done with what they call a "cool laser".  They completely numb your eyes with some drops and you don't feel a thing.  About six hours of blurry vision, and by the next day you see better then you ever actually did with the glasses.</span></p> </div> <div> <p> </p> </div> <div> <p><span style="font-size: 10pt;">Well, I'll let you know how it all comes out.  In the meantime I'm trying to think of a ceremonial way to dispose of the glasses.  Maybe I'll drop a piano on them.  I've already repaired them multiple times with CA glue.</span></p> </div> <div> <p> </p> </div> <div> <p><span style="font-size: 10pt;">Rob Goodale, RPT<br> Las Vegas, NV</span></p> </div> </div> <div> <div style="margin-top: 7.5pt; text-align: center;" align="center"><span style="font-size: 10pt; color: black;"> <hr align="center" size="2" width="100%"> </span></div> <p style="margin-top: 7.5pt;"><span style="font-size: 10pt; color: black;">The Famous, the Infamous, the Lame - in your browser. <a href="http://toolbar.aol.com/tmz/download.html?NCID=aolcmp00050000000014" title="http://toolbar.aol.com/tmz/download.html?NCID=aolcmp00050000000014" target="_blank">Get the TMZ Toolbar Now</a>!</span> </p> </div> </div> </div> <br>_______________________________________________<br> Pianotech list info <a href="https://www.moypiano.com/resources/#archives" target="_blank">https://www.moypiano.com/resources/#archives</a><br></blockquote></div><br></div>