This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment Hi John, If you put the papas mute between the hammer shank, how do you move it = on up the piano as you're going from note t o note ? The hammer shanks = get in the way . Marshall ----- Original Message -----=20 From: A440 Piano Service=20 To: PTG List=20 Sent: Monday, February 13, 2006 10:14 AM Subject: Papps Mutes and Tools in General Esteemed list, (I hope this doesn't appear twice.. if it does, I apologize. I got a = message about it "bouncing" so I assume it's not gonna appear because of = some protocol unless I send it again) I've seen the Papp's mute berated here, and, in one case, = misunderstood. I attended a class at a regional conference where it was = demonstrated and recommended. I bought one and I loved it. Still love = 'em. I now have a couple of them. The person who demonstrated it also = mentioned that blind tuners like them because it's so easy and so quick = to change to a new position. I've enjoyed that feature: changing = position without looking. Separate tangent, but not really: One of my careers was selling tools. = After a 9 year career as an automobile mechanic, I decided to quit = beating up my own hands and body and instead sell the tools to mechanics = to help them get their own hands dirty and bruised. As an ASE certified = mechanic with a lot of experience in my specialty areas I thought I = could really "enlighten" the mechanics out there with my "dazzling" tool = knowledge. I soon came to learn that each and every tool has both its = worshipers AND those who think it's a P.O.S. Any particular tool WORKS for those who like it, whose mechanical = approach and whose ergonomics are congruent with its purpose and intent. = Conversely, if you go about the job in the wrong way with a tool, or if = your tendencies with grip, angle, and other manipulations needed for the = tool's use are at odds with it, you'll comdemn the tool, sometimes = vehemently. All this just goes to show that you shouldn't let ANY one opinion sell = you nor chase you away from a tool that you think might work for you. = And if a tool DOESN'T seem to work for you, first make sure you're using = it correctly. Find someone who swears by it and ask them to show you how = THEY use it. Then use it under their watchful eye -- they may correct = some small thing like grip or angle and it may make all the difference. I do enjoy the discussions about these tools and procedures and such, = and I by no means wish to inhibit anyone from any strong opinions = expressed from any end of the spectrum (not that I'd even pretend I = COULD!!) I'd just warn against taking any one opinion as cast in stone = -- even mine! I like to read them all, weigh the "consensus" if there = ever is one, and then I might try/think for myself. By the way... I just thought that I might be asked about the Papp's = mute and what I referred to regarding its use. I use it mainly in the high treble on verticals for tuning unisons as = I go. I can tune 2 strings at a time from each position. Whenever there = is not enough room or it's otherwise difficult to get a stick mute in = place: the hammer hits it, the damper must be moved, etc. Say I'm = starting on the first high treble note past the break. Here's my = procedure: =20 a. To tune the left string of the 3-string unison, insert from = under the hammers, between the shanks, about 4 or 5 notes to the right = of your target. (this allows you to keep it right there for the next 3 = or 4 notes). Rest the mute there on the hammer rail. b. tune left string and when done, pull gently out while keeping = a sort of pressure to the right, and let the mute "snap" into the space = between the right string of the note you're tuning and the left string = of the next note. Let go of the mute and it'll spring open to mute the = right string. c. tune the center string to the left string. d. Squeeze the mute together and drag it over the left string of = the next note to be tuned, and again over the center string (you'll hear = and feel these movements) and insert it between the center and right = strings. e. Tune the right string to the left and center unisons. f. Repeat b through e, on up the piano until C88, where I change = by tuning the right string first, because you can't mute it separately. Some people don't like the little "tink" of the muted strings they = hear while they're tuning. That's valid. I heard it, but learned to = ignore it. Free tip: If you want, you can mute the outside strings and tune the = center string, but I think it's slower. Just one guy's opinion. 2nd free tip: I also adore the split mute, because I can tune 3 = strings at a time while I'm using it! I like tuning unisons as I go when = I'm making a pitch change. Ex-tool dealer, John Dorr Helena, MT ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/52/12/9e/4f/attachment.htm ---------------------- multipart/alternative attachment--
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