<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=Content-Type content="text/html; = charset=iso-8859-1"> <META content="MSHTML 6.00.2900.2802" name=GENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=#ffffff> <DIV><FONT face=Algerian> </FONT><TT><FONT face=Arial>Esteemed list,</FONT></TT></DIV> <DIV><TT><FONT face=Arial></FONT></TT> </DIV> <DIV><FONT face=Algerian><TT><FONT face=Arial>(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)</FONT></DIV> <DIV><BR><BR><FONT face=Arial>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.<BR><BR>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.<BR><BR>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.<BR><BR>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.<BR><BR>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.</FONT></DIV> <DIV><FONT face=Arial></FONT> </DIV> <DIV><FONT face=Arial> </FONT><FONT = face=Arial><TT>By the way... I just thought that I might be asked about the Papp's mute = and what I referred to regarding its use.<BR><BR>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:<BR>  <BR>     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.<BR>     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.<BR>     c. tune = the center string to the left string.<BR>     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.<BR>     e. Tune the right string to = the left and center unisons.<BR>     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.<BR><BR>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.<BR><BR>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.<BR><BR>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.<BR></TT><BR><BR>Ex-tool dealer,<BR>John = Dorr<BR>Helena, MT</FONT></TT></FONT><FONT face=Arial> </FONT></DIV></BODY></HTML>