<div dir="ltr">Ben, Some people feel that some circumstances warrant floating pitch. IMO, if it's a casual environment (as most all of mine are) and the piano is 12c or 20c flat, I'll split the difference. Same if it's 8c or 10c flat, and the temp and humidity are on their way up (i.e. springtime). Dead of summer tho', it gets tuned to A-440, unless it's sharp when I get there. In that case I'll split the difference again. I always tell the customer my intentions and make certain they're OK with it. I usually get the glazed look and "OK, you're the expert." Paul Bruesch Stillwater, MN <div class="gmail_quote"> On Tue, Aug 19, 2008 at 10:12 PM, Ben Gac <<a href="mailto:ben@benspianotuning.com">ben@benspianotuning.com</a>> wrote: <blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"> Thanks for your input!  I wasn't intentionally trying to use the exact amount of 10-15 cents to make my point (as an aural tuner, I guess I should have specified a beat rate, but you get the picture).  So it seems to me--unless the piano is AT PITCH, if one really would like to do a stable tuning, he/she should always make two passes?  That would add about a half hour to a normal tuning time, wouldn't it?  Do you "two-passers" fit that into your normal tuning fee?  I'd like to think that I have a pretty good set of ears on me, and while it's quite simple to only listen to one string at a time I certainly can fully appreciate the sound of a tuned unison used as a test note.  What advice do you have for someone who has a slew of clients with pianos that aren't quite "pitch raise material", but certainly off the mark from "at pitch"?  Can it be done in one pass, or should I begin booking a little more time for my appointments, and charging accordingly?  -Ben </blockquote></div> </div>