THE INTERNATIONAL ASSOCIATION FOR MUSICAL INSTRUMENT SERVICE EXCELLENCE THE IAMISE PROPOSAL by Lars Kirmser

A BRIEF HISTORY OF THE PROFESSION: THE MUSICAL INSTRUMENT REPAIR TECHNICIAN

The history of musical instrument repair is inextricably connected to the history of sound-making devices used throughout man’s existence. The first instrument per se, was likely nothing more than perhaps the clapping of two sticks or two stones together. Or perhaps even the rhythmic striking of a hollow log with a heavy stick. Later, the buzzing of one’s lips in a conch shell, and the plucking of a taught string across a resonating body were used in various ways and for various purposes by ancient cultures. Structured sound-making, whether as part of a religious celebration, or a rite of passage, the use of rhythms and/or sounds in one form or another have always been an important part of all human culture from its very beginning.

In its earliest form, sound-making was probably more utilitarian than musical. For example, sending signals, or warning, from one observer to another, to alert a village of an impending attack from one’s enemy was of great importance to many early cultures. One of the earliest and most advanced forms of tonal and rhythmic accompaniment was provided by the droning didgeridoo of the northern Australian aborigine. This may have been one of man’s earliest examples of sound used in a musical application. The Australian aboriginal culture remains to be one of our planet’s oldest; estimated by some anthropologists as being as old as 40,000 years.

As time progressed, and for whatever reasons, certain forms and methods of sound production survived and evolved within each culture throughout the world. And, as these primitive instruments came into common use, an element of standardization came to be, where instrument makers imitated other successful makers and refined the quality and efficiency of these early sound-making devices to coincide with the musical requirements of the age. The period of time, where the development and refinement of musical instruments was most prolific in Western culture began and continued during the Industrial Revolution (1750 – 1850). This was most evident in Europe and the British Isles, later spreading the United States. So, along with the popularity of the use of these early instruments, a fundamental need for producing and maintaining these instruments was born. In the earliest period of development, the makers, players, and composers of the music for these instruments were often one in the same. As a result, one might assume that they also maintained and repaired their instruments as well. So, the impetus for the refinement and development in form and function was really met initially, from these three points of view: the player, the maker, and the composer of the music for these early instruments.

As musical instruments became more standardized and abundant, the repairers were likely local handymen who had a broad range of skills in a number of practical areas. Even today, although rarely, we may find this to be the case in small rural towns and villages, where the person who repairs your lawn mower might be the same person who you may take your flute to when it is not performing as it should. Like so many formal trades, it has taken several hundred years for musical instrument repair to become recognized as a legitimate vocation. Our trade, and a good many other professional trades for that matter, were for all practical purposes, born as a by-product of the European Guild System, which dictated the strict rules of operation for persons in the skilled trades. These rules and working conditions were applied to the employment conditions of the instrument factories, which were of course, the direct beneficiaries of the fruits of Industrial Revolution.

THE IAMISE PROPOSAL

The occupation of the Musical Instrument Technician has only recently (over the past 35 years or so) began to gain some legitimacy as a bona fide profession by the general public, and by the industry that it serves. This process was due, in part, to the efforts of private companies and individuals who initiated formal training programs for aspiring musical instrument technicians. For example, veterans returning from World War 2 (after 1945) and later the Korean "conflict" (1950's) were allowed to use their newly gained veteran benefits to attend the C. G. Conn Band Instrument Repair Program in Elkhart, IN. This program was a semi-formal, hands-on kind of training environment, and was an adjunct to Conn's manufacturing operation. I don't have specific data, but a significant number of individuals participated in the program, Cliff Ferree, founder and president of Ferree's Tools, Inc. being one. Later, many left Conn to be employed by retail music stores around the country as Band Instrument Repair Specialists. To my knowledge, this was the first "formal" training program open to the public to be implemented in the United States. Of course, shortly before the turn of the century the musical instrument manufacturing industry in this country was fairly well established, especially in Elkhart, Indiana, and the individual manufacturers were engaged in the training of their own workers to meet their own needs. As a result, many ex-employees having been trained by any of the various manufacturers went out and presented themselves to music retailers for employment as Band Instrument Repair Technicians. So, it was really not until the early 1950's where this profession emerged in modest legitimacy. Even then, there were so few individuals with actual factory training and/or experience, that the vast majority of "practicing" Musical Instrument Technicians were totally without any formal training or experience whatsoever.

You may be surprised to know that this condition persists even yet today. In fact, most contemporary Musical Instrument Technicians enter the profession by rather circuitous routes. Many are ex-band directors (disenchanted with teaching) and who work initially as sales staff for retail music stores, and then acquire some basic repair and maintenance skills. Others are musicians with performance skills (on one or more instruments) who are also associated with retail music and display innate mechanical aptitudes and initiative towards "fixing things". Others are retail store owners or managers who, in order to survive, simply dive-in feet first to service the instruments they sell and rent. Eventually over time, and through much experimentation on their customer's instruments (by way of trial and error, usually more error) these individuals may acquire a narrow range of skills to meet their most basic needs. Some of these individuals may even go on to augment and refine their skills to a relatively high level of expertise, however, not a large percentage. The really scarry thing though, is that virtually ALL of these individuals truly believe that they are competent repair technicians and will present themselves to the unsuspecting public as Professional Musical Instrument Technicians. Unfortunately, the person walking in off the street has no way to confirm the level of competency of this so-called musical instrument repair specialist, until its too late. These untrained technicians, more often than not, lack the formal knowledge of legitimate repair procedures as well as the standards of the Music Industry such that they are simply unable to recognize just how much havoc they wreak on the instruments they "repair". You've all heard the phrase "Ignorance is bliss"

In the 1960's our profession was the beneficiary of a few private efforts to train individuals via training programs sponsored by relatively small music companies like Dorn & Kirschner in Union, NJ (Fred Kirschner) and Allied Music in Elkhorn, WI (Bob Getzen). Soon after, a number of Technical Colleges and Institutes, recognizing the need for training programs, followed their lead by sponsoring formal state-supported training programs. The programs that come to mind are Western Iowa Tech (Sioux City, Iowa), Spokane Falls Community College (Spokane, WA), Minnesota State College, Redwing, MN, State University at New York, Morrisville, NY, Renton Technical College at Renton, WA, Trinidad State College at Trinidad, CO, and one that began and ended in Houston, TX before I could commit its name to memory. Several of the aforementioned programs have since ceased, or gone by the wayside (i.e. Allied Music, Dorn & Kirschner, Spokane Falls, Trinidad State, Houston College, and I am told that the S.U.N.Y. program at Morrisville was discontinued in 1987 as well).

Unfortunately, the training of musical instrument technicians is an extremely expensive and ambitious task on any level, but especially for the private sector. In my opinion this is the main reason private companies are no longer in the training business. At this time, however, four state-funded training facilities (in North America) have managed to keep their programs afloat, they are: Red Wing Technical College (MN), Western Iowa Technical College (IA), Renton Technical College (WA) and Keyano College (Alberta, Canada) ; beyond these programs, most other existing endeavors are short specialized courses or workshops (i.e. violin building, bow making, guitar building, band director "survival" courses, etc.)

Fortunately for us, there are a number of other service vocations which have a much longer history than our own, and have managed to fully evolve to the point where they are held in high esteem by the general public. But, there was a time where they too were forced to suffer humiliation and endure the loss of public confidence by the presence of so-called "butchers" in their own industry. They dealt with this problem by establishing formally recognized industry standards and provided methods by which their professionals were able to receive specialized training and advancement in their trade. One such organization is The National Institute for Automotive Service Excellence (ASE). Anyone who has ever gotten their car repaired at a dealership will have noticed the ASE patches on the technician's coveralls indicating the areas of expertise with which they have been formally certified. In the case of ASE, they offer tests in eight specific areas of automobile repair and in three specific engine machinist areas. To become certified in a given area, the technician must pass the related exam. To be certified as a Master Automobile Technician, they would be required to pass all eight automobile tests; their certification is valid for a period of five years, at which point they must re-certify. Under such a system, employers and the public are assured of the level of expertise and knowledge of the technicians repairing their cars. Why shouldn't Musical Instrument Technicians be able to do the same thing? In my opinion, we should. Currently, persons in our trade who refer to themselves as "Master Repair Technicians" have arrogantly bestowed the title upon themselves, as there is no formal authority or agency granting such titles of merit at this time.

THE REMEDY

I propose that Musical Instrument Technicians be certified in five basic areas:

1. WOODWIND INSTRUMENTS
2. BRASSWIND INSTRUMENTS
3. VIOLIN FAMILY STRINGED INSTRUMENTS
4. FRETTED STRINGED INSTRUMENTS
5. PERCUSSION INSTRUMENTS

Each of the five basic areas would further be subdivided into specialized areas, for example:

WOODWIND INSTRUMENTS
Flute/Piccolo Specialist
Clarinet Specialist
Saxophone Specialist
Oboe/English Horn Specialist
Bassoon Specialist

BRASSWIND INSTRUMENTS
Small Piston-Valved Instruments
Large Piston-Valved Instruments
Rotary-Valved Instruments
Trombones

VIOLIN FAMILY STRINGED INSTRUMENTS
Violin and Viola
Violoncello
Double Bass
Bows

FRETTED STRINGED INSTRUMENTS
Acoustic Fretted Instruments
Electronic Fretted Instruments

PERCUSSION INSTRUMENTS
Drums and Drum Sets
Mallet Percussion
Misc. Percussion

CERTIFICATION

For a modest fee, an individual would be able to take a test in any and all of the 19 subdivided areas. Upon successful completion of a specific test, they would then be awarded the rating of "Specialist" in that specific area (i.e."Flute Specialist", or "Acoustic Guitar Specialist"). Upon completion of ALL subdivisions in a major category (Woodwind, Brasswind, Violin Family Strings, Fretted Strings, or Percussion), the individual would then be give the title of "Master" for the specific category. An example of this would be if a person were to successfully qualify for each specialty in all five categories of the Woodwind Instruments, they would then be awarded the title of "Master Woodwind Repair Technician".

Proctored tests would be administered twice a year at strategic metropolitan locations, and would be based upon study guides and other technical materials developed by a panel of recognized experts in each unique discipline. I envision active support in this regard from both major manufacturers and individual practicing technicians. These study guides and materials would then be made available through a central authority. The successful completion of each test would be valid for a period of ten years.

Under such a plan, persons who have successfully completed Musical Instrument Certification Exams would be able to display their credentials such that their clientele would recognize and be confident in their professional abilities. Manufacturers would be more willing to set up active relationships (warranty work) with shops staffed by certified tech's, and I believe that granting recognized credentials to proven technicians would certainly limit the number of unreliable and otherwise unqualified individuals practising in our trade. Additionally, this system will most certainly benefit manufacturing concerns, whose product and product reputation (once they leave the factory) are largely at the mercy of the persons maintaining them in the field.

IAMISE COMPETENCIES

At this time I have completed an extensive listing of competencies for each specialty in each of the following categories: Woodwinds, Brasswinds, Violin Family Strings, and Fretted Stringed Instruments, and Percussion. It is my intent to eventually share these competenciy listings with other interested professionals. As would be expected, the documentation of these competencies represents many years of experience and many hundreds of hours compiling and evaluating a broad range of tasks and professional skill-sets.

In compiling each list of competencies in each of the categories, I have attempted to include as many individual tasks and processes comprising each skill-set that will be required of a professional in each category. Naturally, these lists must continually evolve and be refined over time. And, for this document to be ultimately useful, I will need to involve other knowledgeable technicians who will be willing to assist me in refining the lists and isolating any omissions.

TASK TYPES

Each listing is further classified as a Single (S), Multiple (M), or Integral (I) process. A Single Task Competency would consist of one or more steps required to fulfill a single isolated objective. An example of this would be installing a tenon cork on a clarinet tenon. A Multiple Task Competency would consist of two or more Single Task Competencies required to reach a range of related objectives. An example of this second type would be the complete refinishing of the body sections of a bassoon (where you are required to strip the old finish, repair surface blemishes, mask the tone holes, seal the body, stain the body, varnish the body, reseal the tone holes, etc.). As you can see, there may be any number of individual steps included in a multiple task competency, each demanding a unique set of skill requirements, and in a precise order. The multiple task competency is often a principle segment of my third designation, the so-called Integral Competency. An example of an Integral Competency would be the complete overhaul or complete repading of a wood-wind instrument..

SHOP TYPES

In my experience, I have found that shops will fall into one of three basic categories. The first, and most common shop type would be what I refer to as the Playing Condition Only, or more simply, the PC Shop. This would be a small single area, usually in the rear of a small retail music store, comprising approximately 150 to 250 square feet, and run by a single individual. In the contemporary P.C. shop, this individual is often self-taught, and will perform basic tasks, which maintain the store’s inventory and attend to the routine service requirements of its customers. A shop of this type would have very limited soldering and brazing, buffing and polishing, and complete finishing capabilities (usually limited to a small acetylene/air torch, a bench-mounted single shaft buffing motor, and perhaps spray cans of lacquer for the occasional spot lacquering).

Shop Type 2 would be the Complete Repair Facility capable of complete restoration including: a soldering and brazing station (to disassemble and assemble instruments), a dent-removal area, complete with all the necessary dent equipment, a double-spindle variable-speed buffing lathe, plus a finishing room for the degreasing - spraying and curing of finished instruments. This, naturally, would demand significantly larger space requirements.

Shop Type 3 would include those Specialty Repair Shops which repair specific instruments, or categories of instruments, such as percussion repair shops, guitar repair only, violin repair only, electronic repair, specific instruments, etc. Often, the space requirements of a specialty shop would be minimal in comparison to the first two mentioned.

WHY SPECIFY AND GRADE COMPETENCIES?

I suspect that I may be met with varied levels of approval or disapproval regarding the methods I have chosen to grade repair competencies. My motivation for tackling this rather ambitious task was borne of a long-time frustration. A frustration, whereby virtually anyone can grant themselves the label of so-called Master Musical Instrument Technician. This may be done whether one is a trained professional with legitimate credentials, or if one happens to be an ex-band director, or an ambitious musician who is willing to buy some tools, and is bold enough to experiment on unsuspecting customer's instruments. Make no mistake, I have nothing against ex-band directors; some of my best graduate technicians were in fact ex-band directors, but they did enroll in a two-year full-time training program before they began to work on customer's instruments. It is my hope that the following lists will provide some basis as to how one might classify themselves as to their overall skill level.

I believe that it is important for us as a profession to begin to catch up with other established vocations, whereby consumers are able to make informed choices based upon a reliable system of professional skill designations. When you go to get your car repaired, for example, each mechanic is required to prove his or her expertise before being allowed to work on your auto. Then, and only then, are they allowed to display this earned credential to you, the customer. You may therefore leave your automobile in their care with much greater confidence. You may also be assured that they will be required to perform the repairs to your car to acceptable industry standards. As it stands, industry standards have never really been established for the Musical Instrument Technician. I believe the IAMISE PROJECT will help to clarify this issue.

PROFESSIONAL SKILL LEVELS

In my next classification, I try to indicate the skill level required to be able to perform a task unsupervised. For this, I have chosen seven levels of expertise/experience. They are the Pre-Apprentice (PA), Apprentice (A), the Senior Apprentice (SA), the Journeyman Technician (JT), the Senior Journeyman Technician (SJT), the Master Technician (MT), and the Specialist (SP). I have defined each skill level as follows:

Pre - Apprentice (PA):
The rate possessed during the first year (2000 hours) of full-time supervised classroom and lab training (individual lab projects and demonstration) for a person striking for the title of Apprentice.

Apprentice (A):
This title awarded after the PA has successfully advanced to the A level, during which time, an additional year (2000 hours) of supervised employment is completed. To advance to the next level (SA), the candidate will have successfully mastered the second required level of competencies, and will have performed these tasks/skills to ascribed competency levels, without the direct supervision of a Journeyman technician.

Senior Apprentice (SA):
After reaching this level, an additional 3 to 5 years (6000 - 10,000 hours) of supervised employment will be necessary to complete the required competencies. This third level of professional competencies must be competently performed to ascribed competency levels without the direct supervision of a Journeyman Technician (JT).

Journeyman Technician (JT):
To reach this level, a candidate has spent between 5 and 7 years of full time employment and successfully demonstrated the required competencies. A Journeyman Technician is a skilled and experienced professional, capable of successfully completing all assigned repair competencies and shop organization duties of the highest order. The Journeyman Technician may work alone or along side other Journeyman Technicians. A Journeyman Technician is the person who is responsible for the training and evaluation of Apprentices.

Senior JourneymanTechnician (SJT):
A Journeyman Technician is the person who is in charge of the operations of a shop, having at least one other Journeyman Technician, and is often referred to as the shop foreman or lead technician.
Master Technician (MT):
An individual who has attained Journeyman status in each of the Woodwind, Brasswind, Violin Family, Fretted Stringed Instruments, and Percussion categories.

Specialist (SP):
Requiring specialized skills, tools, machinery, and facilities to perform highly specialized repair tasks. Generally requires significantly less time to master specialized competencies.

IAMISE COMPETENCIES

An outline of competency headings representing thirteen (13) principle categories of the Professional Musical Instrument Repair Technician. (A 14th optional heading is not listed, namely ELECTROPLATING).

TOOLS AND SHOP PRACTICES
1.01 AN INTRODUCTION TO THE PROFESSION
1.02 SHOP SAFETY
1.03 SHOP LAYOUT AND DESIGN
1.04 FUNDAMENTALS OF SHOP TOOLS, DEVICES, AND MACHINERY
1.05 TOOL SHARPENING

SUPPORTIVE SKILLS AND TECHNIQUES
2.01 PROPERTIES OF METALS
2.02 PROPERTIES OF TONE WOODS
2.03 PROPERTIES OF USEFUL SYNTHETICS
2.04 SOLDERING AND BRAZING
2.05 CHEMICAL REAGENTS – SAFE PRACTICES AND APPLICATIONS
2.06 DENT REMOVAL AND PRELIMINARY SURFACE PREPARATIONS
2.07 GRINDING – POLISHING – BUFFING
2.08 HAND ENGRAVING
2.09 APPLYING PROTECTIVE COATINGS TO BAND INSTRUMENTS
2.10 CASE AND LATCH REPAIR

THE WOODWINDS
3.01 INTRODUCTION TO THE REPAIR OF THE WOODWINDS
3.02 FABRICATING WOODWIND REPAIR TOOLS AND DEVICES
3.03 UNIVERSAL WOODWIND REPAIR TECHNIQUES
3.04 REPAIR TECHNIQUES UNIQUE TO THE CLARINET FAMILY
3.05 REPAIR TECHNIQUES UNIQUE TO THE SAXOPHONE FAMILY
3.06 REPAIR TECHNIQUES UNIQUE TO THE FLUTE FAMILY
3.07 REPAIR TECHNIQUES UNIQUE TO THE BASSOONS
3.08 REPAIR TECHNIQUES UNIQUE TO THE OBOE FAMILY
3.09 THE RESTORATION OF WOODWIND
3.10 WOODWIND VISUAL INSPECTION AND PERFORMANCE TECHNIQUES

THE BRASSWINDS
4.01 INTRODUCTION TO THE REPAIR OF THE BRASSWINDS
4.02 BRASSWIND MANUFACTURERS AND MANUFACTURING PROCESSES
4.03 BRASSWIND SPECIFICATIONS AND INSPECTION PROCESSES
4.04 PREVENTIVE MAINTENANCE FOR THE BRASSWINDS
4.05 FABRICATING BRASSWIND REPAIR TOOLS AND DEVICES
4.06 UNIVERSAL BRASSWIND REPAIR TECHNIQUES
4.07 REPAIR TECHNIQUES UNIQUE TO THE SMALL PISTON VALVED BRASSWINDS
4.08 REPAIR TECHNIQUES UNIQUE TO THE LARGE PISTON VALVED BRASSWINDS
4.09 REPAIR TECHNIQUES UNIQUE TO THE SLIDE TROMBONES
4.10 REPAIR TECHNIQUES UNIQUE TO THE ROTOR VALVED BRASSWINDS
4.11 THE RESTORATION OF BRASSWINDS
412 BRASSWIND VISUAL INSPECTION AND PERFORMANCE TECHNIQUES

THE VIOLIN FAMILY STRINGED INSTRUMENTS
5.01 INTRODUCTION TO THE REPAIR OF VIOLIN FAMILY STRINGED INSTRUMENTS
5.02 VIOLIN FAMILY CONSTRUCTION TECHNIQUES
5.03 VIOLIN FAMILY SPECIFICATIONS AND INSPECTION PROCESSES
5.04 VIOLIN FAMILY PREVENTIVE MAINTENANCE
5.05 FABRICATING VIOLIN FAMILY REPAIR TOOLS AND DEVICES
5.06 VIOLIN FAMILY REPAIR AND ADJUSTMENT
5.07 THE RESTORATION OF INSTRUMENTS OF THE VIOLIN FAMILY
5.08 VIOLIN FAMILY BOW SPECIFICATIONS AND INSPECTIONS PROCESSES
5.09 THE REPAIR AND RESTORATION OF THE VIOLIN FAMILY BOW
5.10 VIOLIN FAMILY BOW REHAIRING
5.11 VIOLIN FAMILY VISUAL INSPECTION AND PERFORMANCE TECHNIQUES

THE ACOUSTIC FRETTED STRINGED INSTRUMENTS
6.01 INTRODUCTION TO THE REPAIR OF ACOUSTIC FRETTED INSTRUMENTS
6.02 CONSTRUCTION TECHNIQUES FOR FRETTED STRINGED INSTRUMENTS
6.03 FRETTED STRINGED INSTRUMENT SPECIFICATIONS & INSPECTION PROCESSES
6.04 FRETTED STRING INSTRUMENT PREVENTIVE MAINTENANCE
6.05 FABRICATING FRETTED STRINGED INSTRUMENT REPAIR TOOLS AND DEVICES
6.06 THE REPAIR AND ADJUSTMENT OF ACOUSTIC GUITARS
6.07 THE REPAIR & ADJUSTMENT OF MISC. FRETTED STRINGED INSTRUMENTS
6.08 THE RESTORATION OF ACOUSTIC FRETTED STRINGED INSTRUMENTS
6.09 FRETTED STRINGED INST. VISUAL INSPECTION & PERFORMANCE TECHNIQUES

BASIC GUITAR ELECTRONICS

PHASE 1
7.01 THE FUNDAMENTAL CONCEPTS OF ELECTRICITY
7.02 BASIC MATHEMATICS
7.03 CONDUCTORS, RESISTORS AND INSULATORS
7.04 VOLTAGE, CURRENT, RESISTANCE AND POWER
7.05 SERIES D-C CIRCUIT
7.06 PARALLEL D-C CIRCUITS
7.07 SERIES – PARALLEL D-C CIRCUITS
7.08 MAGNETISM AND ELECTROMAGNETISM
7.09 CAPACITANCE

PHASE 2
7.10 CONTACT PICKUPS
7.11 MAGNETIC PICKUPS
7.12 DESIGN AND FUNCTION OF ELECTRONIC HARDWARE COMPONENTS
7.13 UNDERSTANDING MIDI

PHASE 3
7.14 TOOL, MATERIAL, AND SUPPLY REQUIREMENTS
7.15 GENERAL WIRING AND ASSEMBLY CONSIDERATIONS
7.16 ELECTRIC GUITAR SCHEMATICS AND TECHNICAL INFORMATION
7.17 TROUBLESHOOTING AND SERVICING GUITAR CIRCUITRY
7.18 CREATING – “HOT-RODDING” – IMPROVING GUITAR CIRCUITRY

PHASE 4
7.19 INSTALLING ELECTRONIC DEVICES ON OTHER MUSICAL INSTRUMENTS

THE PERCUSSION INSTRUMENTS
8.01 INTRODUCTION TO THE REPAIR OF PERCUSSION INSTRUMENTS
8.02 PERCUSSION INSTRUMENT SPECIFICATIONS AND INSPECTION PROCESSES
8.03 THE PREVENTIVE MAINTENANCE OF PERCUSSION INSTRUMENTS
8.04 THE REPAIR AND ADJUSTMENT OF PERCUSSION INSTRUMENTS
8.05 THE RESTORATION OF PERCUSSION INSTRUMENTS
8.06 PERCUSSION INSTRUMENT VISUAL INSPECTION AND PERFORMANCE TECHNIQUES

ANTIQUE, ETHNIC, & UNUSUAL INSTRUMENTS
9.01 A BRIEF HISTORY OF CONTEMPORARY WIND AND STRING MUSICAL INST’S
9.02 THE REPAIR AND RESTORATION OF ANTIQUE MUSICAL INSTRUMENTS
9.03 THE DISPLAY AND PRESERVATION OF ANTIQUE MUSICAL INSTRUMENTS
9.04 DESCRIPTIONS &SPECIFICATIONS OF RARE OR UNUSUAL MUSICAL INST’S
9.05 THE MAINTENANCE & REPAIR OF RARE OR UNUSUAL MUSICAL INST’S
9.06 AN OVERVIEW OF RENOWNED MUSICAL INSTRUMENT COLLECTIONS

FUNDAMENTAL ACOUSTICS OF MUSICAL INSTRUMENTS
10.01 INTRODUCTION TO THE ACOUSTICS OF MUSICAL INSTRUMENTS
10.02 THE PHYSICAL PROPERTIES OF MUSICAL SOUNDS
10.03 SIMPLE VIBRATING SYSTEMS
10.04 WAVES AND WAVE PROPAGATION
10.05 COMPLEX VIBRATIONS AND RESONANCE
10.06 THE HUMAN EAR – INTENSITY AND LOUDNESS LEVELS
10.07 TONE QUALITY
10.08 FREQUENCY AND PITCH
10.09 INTERVALS, SCALES, TUNING, AND TEMPERAMENT
10.10 THE ACOUSTICS OF THE VIOLIN FAMILY
10.11 THE ACOUSTICS OF THE FRETTED STRINGED INSTRUMENTS
10.12 THE ACOUSTICS OF THE WOODWIND INSTRUMENTS
10.13 THE ACOUSTICS OF BRASSWIND INSTRUMENTS
10.14 THE ACOUSTICS OF PERCUSSION INSTRUMENTS

BUSINESS MANAGEMENT
12.01 YOUR FUTURE IN BUSINESS MANAGEMENT
12.02 SELECTING YOUR BEST BUSINESS LOCATION
12.03 PLANNING THE SHOP LAYOUT
12.04 ESTABLISHING YOUR OVERALL CAPITAL REQUIREMENTS
12.05 SOURCES OF REQUIRED CAPITAL
12.06 PURCHASING AN ESTABLISHED REPAIR BUSINESS
12.07 LEASING SPACE FROM AN ESTABLISHED RETAIL MUSIC STORE
12.08 FORMS OF BUSINESS ORGANIZATION
12.09 KNOWING THE LAWS AND REGULATIONS THAT MAY AFFECT YOU
12.10 MEETING YOUR TAX OBLIGATIONS
12.11 BUSINESS INSURANCE
12.12 KEEPING ACCURATE RECORDS
12.13 USING A PERSONAL COMPUTER IN TODAY’S SMALL BUSINESS
12.14 PRICING YOUR SERVICES FOR PROFIT
12.15 DEVELOPING AN EFFECTIVE PRICE LIST
12.16 CONTROLLING CREDIT AND COLLECTIONS
12.17 CUSTOMER RELATIONS
12.18 ADVERTISING AND PROMOTING YOUR BUSINESS
12.19 CREATIVE MERCHANDISING AND SALES TECHNIQUES
12.20 STARTING AND MANAGING AN INSTRUMENTAL RENTAL PROGRAM
12.21 SELECTING AND TRAINING NEW PERSONNEL
12.22 EFFECTIVE SUPERVISORY AND MANAGEMENT SKILLS
12.23 PURCHASING AND INVENTORY MANAGEMENT
12.24 SHIPPING AND RECEIVING

EMPLOYMENT SKILLS
13.01 THE JOB SEARCH: SELECTING A PLACE OF EMPLOYMENT
13.02 WRITING A PROFESSIONAL RESUME'
13.03 THE JOB INTERVIEW
13.04 WORK ETHICS – WORK ATTITUDES
13.05 EMPLOYEE – EMPLOYER RELATIONS
13.06 PRACTICAL NEGOTIATION SKILLS

INSTRUMENTAL PERFORMANCE
14.01 WOODWIND PERFORMANCE SKILLS FOR THE M.I.T.
14.02 BRASSWIND PERFORMANCE SKILLS FOR THE M.I.T.
14.03 VIOLIN FAMILY PERFORMANCE SKILLS FOR THE M.I.T.
14.04 FRETTED STRING PERFORMANCE SKILLS FOR THE M.I.T.

BECOMING A PROFESSIONAL TECHNICIAN TODAY

Today, an aspiring musical instrument repair technician has but one or two ways in which they may acquire this training. The first way would be to become apprenticed (usually at minimum wage) by a trained, experienced technician; a seasoned professional who is willing to take on an eager neophyte, and train her/him in hopes of eventually retaining them as an employee as their skills develop, and eventually become profitable for the shop. This situation has all but disappeared from today’s learning environment, as it is extremely expensive, and time-consuming for the trainer (shop owner).

A more likely opportunity would be to enroll into a post secondary technical college offering formal training as a musical instrument technician. Today we are fortunate to have four post-secondary institutions of higher learning in No. America offering training in the field of Musical Instrument Repair; three in the U.S., and one in Alberta, Canada. In addition to these Technical Colleges, there exist two private training opportunities. In the following paragraphs, I will describe these six existing training opportunities.

RENTON TECHNICAL COLLEGE, RENTON, WA:
Length of Program: 3 Quarters (9 months)
Credential Granted: Certificate of Completion
Estimated Total Cost: $5300 ($3300 tuition, $1500 Tools, $500 Books and Materials)
Student – Teacher Ratio: 18 to 1
Apprenticeship or Co-op Offered: N/A
General Education Classes Req.: No

MINNESOTA STATE COLLEGE, REDWIND, MN:
Length of Program: 9 months (2 semesters of 16 weeks ea.)
Credential Granted: Diploma
Estimated Total Cost: $8700 ($6400 tuition, $1800 Tools, $500 Books and Materials)
Student – Teacher Ratio: 20 to 1
Apprenticeship or Co-op Offered: No
General Education Classes Req.: Computer Course, Communications, CPR/ First Aid, Math Course

KEYANO COLLEGE, ALBERTA, CANADA:
Length of Program: 1 Year
Credential Granted: Diploma
Estimated Total Cost: (U.S. Res.) $18,500 (tuition, Tools, Books & Mat’s, Misc. fees)
Student – Teacher Ratio: 12 to 1
Apprenticeship or Co-op Offered: Offered but not req.
General Education Classes Req.: Accounting, Business Skills, 4 credits from electives

WESTERN IOWA TECHNICAL COLLEGE:
Length of Program: 1 year
Credential Granted: Associate in Applied Sciences
Estimated Total Cost: $7100 ($5100 tuition, $1500 Tools, $500 Books & Mat’s)
Student – Teacher Ratio: 20 to 1
Apprenticeship or Co-op Offered: No
General Education Classes Req.: Intro to Computers, English (Elective), Psychology(Elec.), Math (Elec.)

BADGER STATE REPAIR CO., ELKHORN, WI:
Length of Program: 1 year
Credential Granted: No
Estimated Total Cost: $15,800
Student – Teacher Ratio: 1 to 1
Apprenticeship or Co-op Offered: Entire Course is Hands-On Apprenticeship
General Education Classes Req.: No

COLORADO INSTITUTE OF MUSICAL INSTRUMENT TECHNOLOGY:
Length of Program: Student contracts for an individual course title, taken via internet.
Credential Granted: No
Estimated Total Cost: $16,170 tuition per year (plus $1500 Tools, $500 Books & Mats, plus must have interactive computer and camera program)
Student – Teacher Ratio: 1 to 1
Apprenticeship or Co-op Offered: No
General Education Classes Req.: No

WHAT’S NEXT:

These data are as accurate as I am able to discern, as most of the costs are understated on the formal brochures, and teacher-to-student ratios are often ‘fudged’, so as not to scare prospective students too much. For example, some of the schools, do not include costs of tools and materials required. In addition, registration fees, Co-op fees, Student Association fees, Lab fees, etc. are often completely left out of the over-all cost estimate. Two of the U.S. schools have, as their principal and only instructor, individuals who are brand new to teaching, and fresh from small repair shops, one with only a couple of years from graduating one of the schools on the list. My own personal assessment is that the curricula and time spent are drastically deficient, and as a result the student is grossly under-served. They are given the impression, that upon completion, they will be employable as a musical instrument repair technician, on their own, and profitable for the company on day one. Simply not so.

Lars Kirmser
c/o The Music Trader
26911 Maple Valley Hwy. S.E.
Maple Valley, WA 98038
425-413-4343
www.music_trader@musictrader.com