<HTML>In a message = dated 7/31/04 7:55:51 PM Pacific Daylight Time, koko99@shaw.ca writes: <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-= LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Can you elaborate as to wha= t the differences are re. tuning for a violinist. I have not run into anyone who questioned me about it. Carl / Winnipeg</BLOCKQUOTE> Carl, The people I tuned for seemed to not comprehend, no matter how much I ex= plained, the effects of severe environmental change--humidity primarily--on = their instruments.  In the case of the gentleman with the new Kawai upr= ight, the fact that he had his piano near an oft-opened window and the fact = that it was a new instrument that had just undergone a pitch lowering, he di= dn't understand why the piano was unstable. They are string players, and string players that have any ability must h= ave good pitch.   IMHO, these two chaps are either feeling cheated= that their pianos can't be tuned to their satisfaction, or they are trying = to prove that their ears are superior to those of the piano technicians that= they have used.   It's like David Nereson said, "It's probably only at home where they > realize they have some say in how the piano's tuned that they get t= he prima > donna complex and decide that they have some innate ability to disc= ern how > much the octaves were stretched or what kind of temperament was use= d (if > they even know there are different kinds)." It's no big deal, just an occasionally frustrating part of this business= . Dave Stahl</HTML>