to A442 & back(D)

[David Love]

I probably wouldn't do it.  It creates too many potential instabilities
right before the concert.  If you have people insisting on 442 and 440, I
would tune the piano at 441 and leave it there.  Tell them that the house
policy is that the piano is left at 441 to insure stability and to as a
compromise to satisfy the variety of pitch requests.  Truth is, no one can
really hear the difference between 440 and 441 or 441 and 442, though some
like to think that they can.

David Love

----- Original Message -----
From: "David Renaud" <drjazzca@yahoo.ca>
To: <pianotech@ptg.org>
Sent: May 04, 2002 8:03 AM
Subject: to A442 & back(D)


> Steinway D, in a Hall.
>
> Artist shows up 12 noon, announces it must be A442.
> So I crank fast 8 cents and leave, returning
> just before the show to tune.
>
> Cranked it back down this morning,
> I actually found this more difficult then
> bringing it up, three passes, it still is not
> as stable as it was before I began. Mind you
> it had been tuned many times lately.
>
> Questions:
>
> 1) Is it my imagination because I am looking for it,
> or does this really destabilize a 9 foot as much as I
> think it has. I am finding I have  to reseat strings
> on the bridge, and go over, and over certain sections.
> And the piano was getting so stable before....
>
> 2) How many would refuse to do this. It concerns me
> because the request  could come often on account of
> location. This hall using lots of Quebec based touring
> acts out of Montreal. I am in Quebec, at the border of
> Ontario. Since Montreal symphony uses A442, some
> musicians insist on it, and some insist on A440.
>   I could see this request once a month. After doing
> it once, It does not excited me.  I have only recently
> acquired a couple D's to tune for 2 halls, and
> apparently a 9 foot board is mighty "flexible" if that
> is the right word, ie: it perhaps moves more.
>
>                          Dave Renaud
>                          RPT
>                          Canada
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