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<DIV><FONT face=Arial size=2>Esteemed list,</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Thanks for your responses, to the list =
and
privately, to my post re: the Papps mute. It occurred to me that I =
misspoke when I said I could tune two notes at a time with this =
technique, so I
wanted to correct that. <EM>Only step E</EM> allows for =
that. Step B
and C allow only one string to be tuned. I guess it just flies by =
so
quickly that it almost seems like I'm always tuning two strings! =
Sorry
'bout that. </FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Another thing that I failed to mention =
that
increases speed with this method is to learn to move the mute with your =
left
hand (if you're a right-handed tuner, I guess) WHILE you move the hammer =
with
your right hand. Blazin'!!</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>On another note, I was asked about the =
split rubber
mute, so I thought I'd tell how I use it to tune <EM>3 strings at a =
time.
</EM>Again, this is using the "unisons as you go" method, so I usually =
just use
it for pitch changes. (I'm not good enough yet to do the Virgil =
Smith
method on the fine tuning... someday!) I use this as soon as I =
start
tuning 3-string unisons, and continue it as long as I can. Unlike =
the
Papp's mute, this method can ALSO be used on grands, and can go all the =
way up
the keyboard.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>This method was shown to me by Peter =
Briant,
RPT.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Let's start with the lowest 3-string
unison:</FONT></DIV>
<DIV><FONT face=Arial size=2>1. Place the mute around all =
three strings,
leaving just the center string open. Being right-handed I usually =
have the
handle lying to the right, especially on the lower strings. When =
the fit
gets tight in the case or around the struts, I'll lay the handle to the
left. And on the occasional hard to mute trio near a strut on a =
grand,
you'll have to stand the mute a bit more straight upward to effectively =
mute the
(usually) right string.</FONT></DIV>
<DIV><FONT face=Arial size=2>2. Tune the center string. =
(Let's
arbitrarily call this F)</FONT></DIV>
<DIV><FONT face=Arial size=2>3. Move the move to the next =
string
(F#) and leave ITS center string open.</FONT></DIV>
<DIV><FONT face=Arial size=2>4. Tune the first (F) string's =
left string to
center.</FONT></DIV>
<DIV><FONT face=Arial size=2>5. Tune the next center =
string.
(F#)</FONT></DIV>
<DIV><FONT face=Arial size=2>6. Move the mute to G . =
(Notice, we're
ALWAYS surrounding the center string of a 3-string unison with the
mute.)</FONT></DIV>
<DIV><FONT face=Arial size=2>7. Tune F# left to F# =
center.</FONT></DIV>
<DIV><FONT face=Arial size=2>8. Tune F right to F left and F
center.</FONT></DIV>
<DIV><FONT face=Arial size=2>9. Tune G center.</FONT></DIV>
<DIV><FONT face=Arial size=2>At this point, you move the mute again =
(to G#) and
continue that 3-string pattern - now G left, F# right, G# =
center.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>I suppose for extra speed one could =
learn to change
this mute with the right hand while the left hand moved the hammer, too, =
but I
haven't tried that... it's pretty fast as is!</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Hope this helps. Thank Peter =
Briant if it
does.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>John Dorr</FONT></DIV>
<DIV><FONT face=Arial size=2>Helena, MT</FONT></DIV></BODY></HTML>