<!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=Arial>Hi John,</FONT></DIV> <DIV><FONT face=Arial>I have a papis mute that fell inside my wife's piano.  I need to retreive it.  I placed it on a three string = unison, muting off the right and left and the thing slid down and out of sight = into the bottom of the piano.  </FONT></DIV> <DIV><FONT face=Arial></FONT> </DIV> <DIV><FONT face=Arial>You mentioned blind tuners.  Do you know of = any particular methods used by them in order to increase their tuning = speed?  I'm one with low vision ,so any ideas on this would be great, besides, = "you should go to washington state to Emil Freis."  Great school, but = not in my plans as I'm place bound and enjoying our six month old.  There's = no reason why I couldn't learn how to master speed in tuning, not that the school = isn't good. It's great. I've talked with some folks from there and one of = their graduates.  No excuses on my part, just not doable in due in part = to my circumstances at hand.  </FONT></DIV> <DIV><FONT face=Arial></FONT> </DIV> <DIV><FONT face=Arial>If you're tuning one string at a time ,I = understand that you're leaving no strings unmuted just one.  The single rubber = wedge method mutes off two and leaves one open I believe.  </FONT></DIV> <DIV><FONT face=Arial>Marshall</FONT></DIV> <DIV>----- Original Message ----- </DIV> <BLOCKQUOTE dir=ltr style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; = BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> <DIV style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: = black"><B>From:</B> <A title=a440@bresnan.net href="mailto:a440@bresnan.net">A440 = Piano Service</A> </DIV> <DIV style="FONT: 10pt arial"><B>To:</B> <A = title=pianotech@ptg.org href="mailto:pianotech@ptg.org">PTG List</A> </DIV> <DIV style="FONT: 10pt arial"><B>Sent:</B> Monday, February 13, 2006 = 10:14 AM</DIV> <DIV style="FONT: 10pt arial"><B>Subject:</B> Papps Mutes and Tools = in General</DIV> <DIV><BR></DIV> <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></BLOCKQUOTE></BODY></HTML>