<HTML>In a message dated 8/29/01 6:32:08 PM Central Daylight Time, musselj@cadvision.com (John Musselwhite) writes: <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I've mentioned this before, but around here somewhere I have the rider from when I tuned for Chick Corea and Gary Burton (on vibrophone). It was one of the most demanding riders I'd seen and not only dealt with the tuning of the two instruments together, but included an entire paragraph on how Mr. Corea requires his pedals to be adjusted. Fortunately, that's the way I keep them on the 1978 D he chose. I did find out one interesting thing about Chick Corea while we were discussing his requirements at the piano. As he was writing down the serial number of the D that he picked (the other one being an almost all-original 1956 D) he told me that he's recorded the serial numbers of every piano he's played in concert and practically every one he's ever played. I suspect he also writes down his impressions of each instrument too. Wouldn't *that* be something to read!</BLOCKQUOTE> Chick sounds like one artist who would blow his stack if I tuned the EBVT.   Although I consider it to be perfectly compatible with all fixed pitch instruments such as the Vibraphone, this is one of the artists who sounds like he knows what a real ET tuning is and will kill if he doesn't get it. He's come a long way since I saw him in the little dive in Hermosa Beach California called The Lighthouse back in the late '60's where he took it upon himself to correct tuning flaws in the piano while on stage.  This is one job I wouldn't take.  I prefer the smiles and the "Thank you so much" 's to the hell I might possibly catch if my idea for tuning the piano were misunderstood. Bill Bremmer RPT Madison, Wisconsin</HTML>