Papps Mutes and Tools in General

[pianotune05]

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Hi John,
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. =20

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. =20

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. =20
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 
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