Fees & Estimates

RATE

I charge $45 per hour for labor, plus the cost of any major parts like straps, back pads, reeds, microphones, etc. I do not charge for materials like reed leathers, wax, or bellows gaskets that I use in the course of repairs. My hourly rate is exceptionally low for this work, and I have kept it that way by keeping my overhead as low as possible – working from home, using salvaged parts when possible and relying on word of mouth from satisfied clients instead of advertising. I am aware that many of my clients are working musicians in a city where musicians are very poorly compensated, and I strive to make my skills available to everyone.

ESTIMATES

I am often asked to give estimates over the phone or by email. While it is sometimes possible to give an estimate with good pictures of both the inside and outside of an accordion, I cannot give estimates by phone. Accordions have thousands of parts, each of which is subject to its own particular rate of entropy, and physical inspection is really the only way to get a good idea of what it will need.

THE ETERNAL DILEMMA

The eternal dilemma with accordion repair (and everything) is whether to do something the difficult, right way or the easier, crappier way. I do not cut corners when refurbishing accordions to sell. This gives the best value for the customer, as they are getting my work for far less than my hourly repair rate. When working on others’ accordions, I offer a range of options if extensive work is needed. My preference is always to do the best job possible, as I would if it were my accordion or one I was selling. This is far more satisfying for me and better for the client in the long run. However, I recognize that this is often prohibitively expensive for my clients, as much accordion work is unavoidably time intensive. When cost is a concern, I try to offer a second, less expensive option, which will make the problem somewhat better with less time and money expended, but which I will make clear is not optimal. Often, I must tell people that the work and expense necessary to make their accordion playable will far exceed the value of the instrument, and that they’d be better off getting a different one. I sometimes joke that my job largely consists of crushing people’s dreams as I send them off, crestfallen, with their grandmother’s accordion that has been moldering in some basement or attic for 60 years.