Strip Mutes vs. Single Wedges

[Ron Nossaman]

>
>On the other hand, when I am doing the finest concert tuning work I can do and
>I have all the time I need to get it done, I use the single mute to correct
>and stabilize the unisons and small errors.  I usually cannot trust unisons
>that have been made while simply pulling out the strip as I go.  In the end, I
>agree with those who say that the very finest tuning can only be done with a
>single mute.  It is just that I only reach that level after first doing a
>thoroughly acceptable job with the strip mute.  
>
>If I were required to do my ordinary, every day tunings with only a single
>mute, I could never get the volume and consistency that I do with the strip.
>My tunings would take much longer and they would be far less accurate and far
>more unstable.
>
>Bill Bremmer RPT
>Madison, Wisconsin
>

I was originally 'taught' (shown) to use a strip through the temperament,
and chase single mutes both ways from the middle. That was too much to ask
of a newbie with poor hammer technique, and I spent a whole lot of time
back-patching and correcting mistakes and drift. When I discovered strip
muting the entire piano, my tuning got a lot better very quickly and not
fighting mutes left me more time to develop decent hammer technique. There
is still a certain amount of back-patching and touch up, but you can't guess
right every time. At least I can't

  
 Ron