<HTML> <HEAD> <TITLE>Re: estimate check list</TITLE> </HEAD> <BODY> <BLOCKQUOTE>For what it's worth, the late great Sheldon Smith gave me his v= iew very early in my apprenticeship: "Estimate high and then forget about it." Hemade a pointed contrast to one of his colleagues, who was constantly fret= ting about the amount of time he was spending. Sheldon preferred to concentr= ate on doing the best job he could, comfortable in knowing that if he put mo= re time into this job than he originally expected, the next one would make u= p the difference; and that consistently high quality would guarantee return = customers, the spread of word-of-mouth, and therefore ongoing profitability.= On the other hand, fretting is an energy drain, which in itself lowers the = quality of your work because it is a distraction, a nagging inner voice that= encourages you to cut corners and hurry through tasks. (For what it's worth? I think it's worth quite a lot) </BLOCKQUOTE> || ||| || ||| || ||| || ||| || ||| || ||| || ||| || ||| jason kanter * piano tuning * piano teaching bellevue, wa * 425 562 4127 * cell 425 831 1561 orcas island * 360 376 2799 || ||| || ||| || ||| || ||| || ||| || ||| || ||| || ||| <BLOCKQUOTE>From: "Mike Kurta" <mkurta@adelphia.net>= Reply-To: pianotech@ptg.org Date: Mon, 15 Apr 2002 06:58:11 -0400 To: <pianotech@ptg.org> Subject: Re: estimate check list </BLOCKQUOTE> <BLOCKQUOTE><TT>I just got my car back from the local body shop for some ru= st repair, and the back of their receipt stated what you refer to:  "The above i= s an estimate based on our inspection and does not cover any additional parts or= labor which may be required after the work has been started.  Occasion= ally, worn or damaged parts are discovered which may not be evident on the first<= BR> inspection.  Because of this, the above prices are not guaranteed. Quotations on parts and labor are current and subject  to change.&quot= ;    Sounds like a disclaimer slanted in favor of the shop to= me, maybe some revision is in order for our field, but you get the idea.  Speaking fr= om a past life as an auto mechanic and shop owner for 30 years, menu pricing is<= BR> far more acceptable by the public.  Most customers want to know the bo= ttom line, not necessarily how you arrived at it.  There are those however,= who will question and want a more detailed explanation of charges.  The an= swer to this is to prepare estimates carefully and completely, and be ready to<B= R> explain and justify each item listed.  The guiding principle that has = served me well over the years is " No customer likes surprises, especially wh= ere money is concerned."    Mike Kurta ----- Original Message ----- From: "Dave Nereson" <dnereson@dimensional.com> To: <pianotech@ptg.org> Sent: Monday, April 15, 2002 4:16 AM Subject: estimate check list >     I've tried making estimate check lists in the = past, and have never found > a happy medium between simple and exhaustive.  If one lists only = major areas > of service, such as "Case & finish", "Soundboard &a= mp; bridges", "Keys & > action", "Tuning, voicing", then details are liable to = get left out when > looking over the piano to do an estimate.  And some details can t= urn out to > be costly, time-consuming cans of worms. >     Yet to cover any eventuality, all possible rep= airs, any likely or > unlikely problems, you'd have to check every single part on the piano = and > list every possible procedure; the estimate sheet would be pages long.= >     I had a two-page one I used for a while that I= thought was fairly > complete, but would still run into things I didn't see in the home.<BR= > > (classic example:  after the action's already in the shop, you fi= nd out the > regulating screws are all "frozen" in the rail and the eyele= ts break off > when you try to turn them)  So you either call the customer and t= ell them > it's going to be more ("Let-off?  What's that?  Regulat= ing screws?  How much > more will it be?  You didn't say anything about that when you loo= ked at the > piano.") or you end up "eating" the extra time spent fi= xing the problem. >     Sometimes I put an "allowance for unforse= en problems" at the end of the > estimate, like for strings that break during a pitch raise.  But = then, the > bridge could roll, the soundboard could crack, the plate could crack, = the > pinblock could separate, the tone might be totally different after you= 've > filed hammers or voiced, etc.  Then you need these professional c= ontracts > with disclaimers and waivers in legalese with signatures and dates and= .... > oh jeez, I'm not doing open heart surgery here -- it's just a piano, a= nd an > old upright at that. >     I've managed up to now but still don't have th= e ideal estimate form / > check list.   --David Nereson, RPT, Denver > > > > > </TT></BLOCKQUOTE><TT> </TT> </BODY> </HTML>