"should I stay or should I go?"

[David Skolnik]

David I,

You posted me privately, explaining that the stress you referred to was 
that  of trying to get absolute quiet.  I never considered  asking for 
quiet to be a stress.  Trying to tune aurally through noise is 
stressful.  Do you mean to say that expecting a quiet environment to tune 
makes one a Prima Dona?  If that is your drift, I would take issue with 
such a contention.  Which situation did I describe that sounds like "NO 
problem"?

Just looking for clarity.

David Skolnik

At 09:56 AM 11/12/2004 -0800, you wrote:
>David,
>
>I think the "Prima Dona" line is about right....the situation you 
>described sounds like NO problem at all.
>The stress you're bringing down on yourself is totally self-imposed...
>
>IMHO
>
>David Ilvedson
>
>
>----- Original message ---------------------------------------->
>From: David Skolnik <davidskolnik@optonline.net>
>To: Pianotech <pianotech@ptg.org>
>Received: Fri, 12 Nov 2004 01:02:57 -0500
>Subject: Re: "should I stay or should I go?"
>
> >Kent -
> >I don't mean to single you out, as I know there have been many others who
> >have responded similarly to this thread, BUT, having previously indicated
> >my own awareness of the need for flexibility, I am, nevertheless,
> >disappointed by a general willingness to adopt a passive approach, even
> >when it would seem clear that the situation cries out for the
> >pro-active.  Case in point.  Yesterday, after reading and responding to the
> >initial post by Quentin Coderville, I had a call for an emergency tuning
> >(they said "touch up", but it was a tuning) for a Tony Bennett performance,
> >in a venue at which I had no previous experience.  I went in after the
> >dress rehearsal.  While I had spoken with the production manager before
> >hand, I hadn't thought to ask him to make sure everyone knew to either
> >leave or be quiet, so, as I began, a few clusters of stage hands and others
> >continued to converse, with clearly no intention of leaving (sitting
> >comfortably in the front row) or with any awareness that they were, in any
> >way, interfering.  Had it, in fact, been only a touch-up, I might have
> >elected to tune through the noise, but the piano was clearly in need, and I
> >had less than an hour to tune and correct some mechanical problems.  There
> >was no reason I had to accept added obstacles, and so, feeling freshly
> >empowered by this discussion, I, politely, humorously, but firmly,
> >indicated that I needed quiet.  They apologized and departed.  A few
> >remained at the back of the theatre, thinking that their conversation could
> >not be heard, so I had to repeat my request in a more projective voice,
> >while trying to maintained the afore mentioned mix of civility and
> >resolve.  This too worked.  It was only when the ushers began to come in,
> >10 minutes earlier than I expected, that I knew I was up against a much
> >greater learning curve.   The point is, SOMEONE has to teach these
> >people.  If I (or you) don't tell them, why SHOULD they know better?   Yes,
> >it makes us appear as prima donnas, but for a critical use situation
> >(concert, recording) I think it's perfectly reasonable to expect the same
> >conditions for tuning as for performance.  Again, the point is to know when
> >that reasonable expectation cannot reasonably be fulfilled.
>
>
> >David Skolnik
>
>
>
>
>
> >At 03:46 PM 11/11/2004 -0600, you wrote:
> >>My blood boils when I must tune in a noisy environment, but I do it,
> >>almost always without complaint.
> >>
> >>I remember hearing Ron Nossaman say years ago that in designing a
> >>procedure he would prefer to work for 10 minutes rather than to have to
> >>wait for 5 minutes at any point in the middle.
> >>
> >>My attitude towards noisy tuning environments is an extension of this
> >>attitude, I think. The time spent not tuning and instead upon getting
> >>things quieted down might be worthwhile, but might not work at all, might
> >>cause hard feelings, and after which you still have the tuning to start up
> >>again where you left off. I'd much rather just keep tuning without pause.
> >>Usually, I outlast the noisemakers and have quiet time at the end to make
> >>sure the tuning is good.
> >>
> >>I finish all tunings that I start. Period. Well, unless the piano 
> breaks.   :)
> >>
> >>Kent Swafford
> >>
> >>
> >>
> >>On Nov 11, 2004, at 3:12 PM, baoli liu wrote:
> >>
> >>>It is always easy to tune pianos in a nice and quite
> >>>place.But being a technician,especially a concert
> >>>technician,I think it is a "must" skill/ability to
> >>>tune pianos with noisy background.
> >>
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>
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