John,
At 19:47 3/11/99 -0700, you wrote:
>At 05:24 PM 3/10/99 -0600, Conrad wrote:
>>It looks to me as though "make it work" could be an interpretation of that
>>instruction.
>When I was first learning how to regulate my father told me that regulating
>dimensions are only a guide and that my job was to make it work as well as
>you can with what you have. Many teachers have said the same thing....
Exactly my point. Start with the specs, then... "make it work."
>>"What we have here is a failure to communicate..."
>I think what we have here is a complex and unstable mechanical music
>instrument being played (and serviced!) by complex and sometimes unstable
>people. B-})
Who? Me?? ;-}
>>This ties into the debate as to what is a "good" piano.
>Or it could just be a piano that hasn't had proper care.
<snip> The only
>problem with its former location was apparently the technicians involved.
When that happens, you have a customer for life who will be your best
advertising agency. Yet another incentive to go to seminars and institutes
to learn the best (and multiple) ways to "make it work" _right_!
>>-There _are_ pianos whose proper location may be the landfill.
>Where they are occasionally "exumed" and someone ...
Ah, yes. - The "Lazarus piano syndrome"
>So have I... and it's depressing to see that same instrument sitting in a
>half-million dollar house 10 years later while they ask for "just one more
>tuning" or "couldn't you just glue that one back on?".
It's then that you remind them of the discussion, noted on the last
invoice, about the piano, it's condition and how we talked about replacing
it soon...
>Could you not classify anything up to and including a total regulation as
"making it work"?
One could, but then again shade tree mechanics and Indy race car mechanics
all just make their cars work. ;-}
I use the Indy analogy when asked if I could play for the customer. (I'm
self-taught - I play for my own enjoyment, and when I play I'm the _only_
one enjoying it.) People understand that those who prepare a race car don't
necessarily need to be able to race it. Drive it around the block, yes,
but rely on experience of sight, feel and sound as well as feedback from
artist/racer.
>>CA in a concert grand?
>Take that a step further... to a hall or school where the pinblock may
>NEVER be replaced because there isn't the money to do it. In this situation
>the professional (as always) should do the least harm to the instrument
>while achieving the greatest benefit, which is "making it work.
Yup.
Conrad Hoffsommer, RPT, MPT, CCT - mailto:hoffsoco@luther.edu
Certified Calibration Technician (CCT) of
Biopowered Digitally Activated Tone Generation Systems
"If you have to plug it in, or you can't watch how it works,
I don't work on it."
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