In a message dated 10/27/98 9:14:30 AM Central Standard Time, jhunt@geocities.com writes: << I usually find that when I'm doing a pitch raise, I can't use a strip, at least not in the tenor (haven't tried in the bass), because the outside strings bleed through enough that I can't hear the beats clearly. So I juggle wedges in the tenor, and usually the strip does a good enough job of muting in the treble. Is there some tip or technique that I don't know about in using a strip mute in the tenor/bass? It just occurred to me, you probably are using an SAT, whereas I do pitch raises aurally. Still, I would appreciate any tips. Thanks >> Your muting strip material may be too thin. Many people who always use strip mutes do not use the strip of felt sold by the supply houses as a muting strip. They either use a wider, thicker piece of felt such as some belly felt or they use action cloth as I do. The action cloth will be a little stiff at first but once it's broken in, it can last a good 2 years. When it starts to get thin and threadbare however, you can start to have the problem you cite. It can also slip out to easily when it is too thin and limber. It is interesting to note that some very excellent technicians can do a muteless pitch raise. Thus is far beyond what I can stand to hear and sort out but I do personally know people who can. During a pitch raise, you are really doing a "rough" tuning. If you are raising the pitch a gross amount such as a half step, you probably will hear some "funny" sounds that you won't hear in a fine tuning unless you have the strings very well and thoroughly muted the way they do in the PTG RPT Tuning Exam. You just need to learn to ignore the sounds which are out of your control and concentrate on the pitches you are changing. In a grand, You can double mute the low tenor and bass sections. I often do, especially during a major pitch raise for the very reason you have brought up. It takes only another 15 seconds or so to double mute. Regards, Bill Bremmer RPT Madison, Wisconsin
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