1. You can produce better unisons; they need to be dead on, to be used to tune other SBI's. | 1. You can produce better unisons; they need to be dead on, to be used to tune other SBI's. |
2. You do not have to open the grand lid to insert the mute strip. | 2. You do not have to open the grand lid to insert the mute strip. |
3. Better stability. You can catch drifting unisons easier. | 3. Better stability. You can catch drifting unisons easier. |
4. There is no need to mute the piano before starting. | 4. There is no need to mute the piano before starting. |
5. There is no pitch drift caused by inserting and removing mute strip. | 5. There is no pitch drift caused by inserting and removing mute strip. |
6. Less wear on dampers. No mutes in bichords means no damper wear due to mutes being put in and out. | |
7. More improved feedback on stability. You can hear more precisely how hammer force affects the pitch of the string by comparing with its neighbour, during the tuning stroke and after you remove the hammer. Pitch change is easier to hear in unisons than in other intervals. | |
8. There is no pitch change due to adding unisons. The Weinreich Effect, if there is any, has already happened. | |
9. Unison shimming (see explanation below) is accurate to within 0.3 cents. | |
10. With DSU, it is much easier to tune birdcage or overdamper pianos. | |
11. No mutes are needed to tune the bichords. | |
12. You can use mutes with handles on a grand. Handled mutes tend to fall over when inserted into the tiny space between strings of a single note on a grand, but there is much more room between the strings of adjacent notes, and the handled mutes can be inserted far under the strings and the mutes are held much more tightly by the strings and the soundboard. | |
13. You can use Beat Matching (see explanation below) which can be a very fast way to tune octaves and other SBI's. | |
14. You don't need to put the Papps mute under the hammers in the treble section. This means you can tune some spinets without removing the board over the keys, or even the lid on some. | |
15. You don't even need Papp's mutes. Rubber mutes with handles work in treble. | |
16. It is much easier, and faster, to insert a mute between two adjacent notes, than to try and insert a rubber wedge mute into the tiny space between the strings of one note. | |
17. Almost no mutes ever fall into the action. The grip is stronger on mutes between notes than mutes between strings of one note; It is too hard to get the rubber mute deep enough between some strings so that it doesn't fall out. | |