Papps Mutes and Tools in General

[PIANISSIMO PIANOFORTE S.L.]

Hi John (and the rest of the list of course!),

Thank you for the Fantastic post you just sent!

I do also use the Papps wedge and find it essential, in fact, its all i
use for the treble on uprights, its easy to use and doesn't "jump back"
like the thicker rubber ones, doesnt get in the way of the hammer, can be
used from a few notes above/below, etc... again, for me its PERFECT.

On grands (and upright bass) i use a Renner rubber wedge, (the one with
the 3 raised lines that "click" on the strings)

Those are the only 2 wedges i use, just one of each, no more. (carry spare
ones just in case though, aswell as a muting strip and ruber wedge with
handle which i never use).

Absolutely right with regards to preferences in tools, etc, as they say
over here: "For tastes, colours" (meaning everyone has a different taste
in things)

Patrick


>  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:
>
>      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


Patrick Hinves Ballesta
Afinador/Técnico 610442371
PIANISSIMO PIANOFORTE S.L.