 The Clarinet BBoard
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Author: Bill
Date: 2012-09-25 04:52
[politically incorrect post withdrawn]
[Not really: I read the original. Mark C.]
Bill Fogle
Ellsworth, Maine
(formerly Washington, DC)
Post Edited (2012-09-25 12:36)
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Author: Tony F
Date: 2012-09-25 06:29
I've come across a fair bit of this here in Australia, so your experience is not unique. I think that in part it is because most techs that I know has more work on their bench than they can deal with, and it leaves very little time for the niceties of personal service. Repair has become more of a production line function than a craft. This is not universal, I also know techs who communicate well and still do a good job.
Where I live good professional woodwind techs are thin on the ground. There are a few bad ones around too. I'm strictly an amateur tech, with a background in IT and electronic/electrical fixit. That gave me the mechanical skills and the tools to repair woodwinds, aided by a very strong mechanical bent. Whatever it is, I can generally figure out what it does, how it does it and why it isn't. I get a steady trickle of woodwind repairs, mainly from local schools. I don't advertise, it's strictly word of mouth. I rarely have more than one job underway at a time. Mostly people come to me because they've had a bad experience with the so-called "professionals". I generally offer a next day return and guarantee my work.
One of the local "professionals" phoned me a year or so back and asked if I felt guilty about, as he put it, stealing work from him. I don't feel in the least bit guilty, If he did a half-decent job he wouldn't have a problem, but he doesn't. He also charges like a wounded bull. He actually threatened me, but when I invited him to follow through he ran out of steam.
Tony F.
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Author: Lorenzo_M
Date: 2012-09-25 07:44
Before I send any of my horns anywhere, I always ask for an ETA. I've only had one instance where I had to wait an excessive amount of time for work to be completed, and it was complicated by having to send it back because of...complications. In this case though, it was a repairer well across the country, and though I may very well send work that way again, it's just not realistic (since I'm no superstar who can just fly across the world anytime I need for adjustments).
Maybe it's because I live in NYC, but have access to a few great people, and have one craftsman I use for most of my stuff now. I've never had a problem with work being done in a timely manner, and I've never had a problem with getting adjustments when I need them, and telling them what I want - and them doing it. I always call to make sure they're available, and once we agree on an ETA for anything, it's usually never late. For an adjustment, sometimes I can get it done while I wait. And my horns are never just "set aside" ... there is a work queue and I always know when my horns are being worked on.
It took me a while to find the right tech(s) for me, and who I could develop a working relationship with. I don't care if they are famous or world-renowned names...I only care about how my horn plays in the end. If you're not getting the service you should, I would personally try to see if someone else is available. If no one else is available, it might be worth it to just be a bit more aggressive with getting your stuff done in a timely manner (e.g. call ahead and schedule an appt...and then work out when things need to get done).
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Author: Nessie1
Date: 2012-09-25 07:54
I've used the same person for many years. He is very busy and many of the London professional players swear by him but I have always found him friendly and helpful and fair in his charges. I think it goes without saying that a good tech will always be in demand so show him/her the courtesy of discussing your needs and schedule over the phone first "If I bring it on Monday would you be able to have it ready for Thursday?" or whatever. Equally, I am amazed at his stories of the uninitiated parents of young players or amateur players who think that 5 miles is a bit far to come for a good repair!
Vanessa
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Author: David Spiegelthal ★2017
Date: 2012-09-25 13:45
Although Bill withdrew his original post, I plead mea culpa to the syndrome of overpromising/under-delivering on schedule for repairs and refacing. I'm strictly a part-timer and I just haven't been able to segregate my musical activities from the day job, kids, etc. as much as I'd like to. Nobody wants to tell a customer "it will probably take a month", even if it's a realistic estimate, because we all aim to please and want/hope to do better.
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Author: rtmyth
Date: 2012-09-25 14:24
I used Larry Mueller for many years. He has since moved to TN but has a web site. first class, in my experience.
richard smith
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Author: Red Chair
Date: 2012-09-25 16:08
To Tony F: When I toured Australia in 2001 I needed the help of a tech in Melbourne and found the cost, quality of repair and the generous nature of the tech to be world class. I was recommended his services by members of the Melbourne Symphony (or Philharmonic?) and was very impressed. If anyone ever needs help 'down under' I strongly suggest using Ian Gordon.
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Author: Wes
Date: 2012-09-25 21:28
Do any repair persons get rich from their jobs? I think not.
Years ago, I visited the retired legendary repairman, Rudy Najoks who came up with the famous corrugated metal resonators for pads, still sold. I bought some resonators from him and was kind of shocked by the poverty of his existence. I hope repair people of today do better!
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Author: kdk
Date: 2012-09-25 22:44
Bill's original post takes me back to another time, to Hans Moennig, who was as legendary for putting people off for weeks or even months before even accepting their *non-emergency* work as he was for the quality of the work once he accepted the instrument. His standard response if you phoned him to make an appointment was (in a moderate German accent) "Well, I'm really very busy right now. Call me back in three weeks." After 3 weeks, when you called back, you heard, ".... Call me again in two weeks." Finally, perhaps after still another hold-off, he would tell you to bring your instrument in on a specific day. But then, unless it was something that needed an overnight stay to dry or set, he would most of the time sit there and do it while you sat and watched and, if he was in a good mood, chatted a little. If he had to keep the instrument, he would always (in my experience) have it waiting for you when it was promised.
So the moral of all this is that his quick turn-around and reliable promises of finished work depended very heavily on his knowing what he could do in a given amount of time and simply not accepting more into the shop than he could finish quickly. My current repairman, Mike Hammer, works the same way - I may have to wait for an appointment, but once he gives me a time, it's either done that day while I wait or within a day or two if it involves more work than he allocated time for.
Karl
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Author: Bill
Date: 2012-09-26 00:35
Great story Karl!!!
Bill Fogle
Ellsworth, Maine
(formerly Washington, DC)
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Author: Clarineteer
Date: 2012-09-26 07:02
I find 3 problems created by a great number of techs when I have to do an overhaul or a repair on an instrument. The first is that they fail to completely remove all old glue from the pad cups before they re-pad. The second thing is that they do not install key corks properly which tend to fall off prematurely which makes me wonder whether they do that on purpose to create more work for themselves and the third is that they leave plier marks on the keys.
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Author: David Spiegelthal ★2017
Date: 2012-09-26 12:34
Wes wrote: "Do any repair persons get rich from their jobs? I think not."
A couple of years ago when I was laid off from my day job, I went to work for a local music store repairing their woodwinds (mostly student-grade rental instruments, but some moldy-oldies that hadn't been touched for literally decades). For two months I worked full days doing this, 6 days a week, and made about a third of the money I had been making as an engineer. Not even enough to pay the mortgage, with nothing for all my other expenses.
Might be good work for a retiree or single person, but I can't see how anyone could raise a family on an instrument repair tech's income. Certainly not where I live.
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Author: Tony F
Date: 2012-09-26 13:17
Hi,
I've never met Ian Gordon, but I've spoken to a couple of his clients, who say wonderful things about his service. He's way across town from me, and caters for a totally different level of customer than I do. He's the real deal, I'm strictly amateur.
Tony F.
Author: Red Chair (---.opera-mini.net - (Opera Software ASA) , Europe)
Date: 2012-09-25 16:08
To Tony F: When I toured Australia in 2001 I needed the help of a tech in Melbourne and found the cost, quality of repair and the generous nature of the tech to be world class. I was recommended his services by members of the Melbourne Symphony (or Philharmonic?) and was very impressed. If anyone ever needs help 'down under' I strongly suggest using Ian Gordon.
Tony F.
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Author: Caroline Smale
Date: 2012-09-26 14:02
Ref David's post, quite a few of the decent techs in the UK that I know are like myself retired from an earlier career and working either as a second career phase until retirement (or beyond!!) and/or to supplement a rather meager pension from their earlier job.
In the above situation it is usually the case that the children have left home and the mortgage is (largely) paid off etc so that one can afford to "subsidize" the work one now does.
I do not think it is possible here for younger repairers to make even a half decent real living and do quality work except for a very small number who are:
1) highly talented
2) extremely fast (as well as good) workers
3) situated close to a major conurbation i.e. with sufficient high quality
instruments to work on.
Sadly result is that a high percentage of so called repairers are really just bodgers trying to turn around the work regardless of quality.
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