<html xmlns:v="urn:schemas-microsoft-com:vml" = xmlns:o="urn:schemas-microsoft-com:office:office" = xmlns:w="urn:schemas-microsoft-com:office:word" = xmlns="http://www.w3.org/TR/REC-html40"> <head> <META HTTP-EQUIV="Content-Type" CONTENT="text/html; = charset=us-ascii"> <meta name=ProgId content=Word.Document> <meta name=Generator content="Microsoft Word 10"> <meta name=Originator content="Microsoft Word 10"> <link rel=File-List href="cid:filelist.xml@01C4C7C9.F3080700">  <style>  </style>  </head> <body lang=EN-US link=blue vlink=purple = style='tab-interval:.5in'> <div class=Section1> I don’t think the risk of cracking the plate by pulling the pitch to = A440 is very high and I wouldn’t worry about it.  If you feel more comfortable = minimizing stress on the plate do the pitch raise by pulling the center string = first and one unisons second in two passes (left string then right or vice = versa).  Keep in mind that the overpull will be slightly different than if you = did unisons as you go.  There is always = a possibility, however, of breaking a string—even on a piano that is already at A440.  I = wouldn’t let that stop you.  Just = advise people in advance that there is a small risk on a piano which has been neglected.  If strings = break the obligation to pay for their replacement is the customer’s, not yours.  Bass strings can = almost always be repaired, rather than replaced, and replacing a plain wire = string is not that big a deal.  I = would be sure to examine the bridges, though.  I have on occasion found failure along the pin line which makes = the tuning in that section unstable and you can cause further damaged by = increasing the tension on bridge pins which are migrating.  <o:p></o:p> <o:p> </o:p> <div> David Love davidlovepianos@comcast.net <o:p></o:p> </div> -----Original = Message----- From: = pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org] On Behalf Of Alpha88x@aol.com Sent: Thursday, November = 11, 2004 8:18 AM To: pianotech@ptg.org Subject: Re: A-440 and = Ethics. <o:p> </o:p> Greetings,             = Usually, when I get a tuning call, it is a piano which hasn't been kept up the = tunings on. I always ask how long since it was last tuned. They usually don't = know. especially if they have taken in an "orphan" piano.              = I do not like to raise the A4 pitch on any piano more than say 1/4 a tone or = so, if it's been neglectd tunings. This is because I don't want to run the risk = of cracking anyone's harp plate, let alone breaking strings. Especially on = the little spinets, whose plates are 5/8" or less thick.             &= nbsp; When I get to the house, I check the A-440 and it's octaves and get an = idea of the overall tone of the piano; whrere it went flat the most. I always = explain the concept of A-440 to the customer, and more times than not, it doesnt = matter to them if its up to A-440 or not.            They just = would like it in tune with itself. I also explain that pianos are designed to = be tuned to A-440 for best results. (unless it is an extremely old, dry = upright that's seen better days and wont let you even gradually take it up that = far, even with subsequent tunings/loose pins or bridges coming off) I tune it = the best I can get it, to sound at the A-4?? and suggest subsequent tunings = so we can gradually get it there. They agree to a reminder card from me for = follow ups ....say, 4 to 6 mo for the first follow-up. I also inform them that = with each tuning the piano becomes more stable and to never let a piano go = more than 2 years max.           On hearing these = pianos, they are so, so neglected and out of tune, the piano always sounds better upon my departure, and thats all = alot of folks want in order to start the kid's lessons, without paying = "an arm and a leg".  With customers who are more vigilant of how their = piano sounds is another matter.           My tuning teacher = used to say "As long as it sounds a lot better when you leave than from = when you arrived". Julia, Reading, PA<o:p></o:p> </div> </body> </html>