termination & differences in string pull/pin set

[Roger Jolly]

Hi Rolf,
           The improved resonators did not arrive on the scene untill mid
to late 70's. They are simple to change as they are held in with 2 Allen
screws, I think they have Lock Tite on the threads, so some force is needed
to break the lock. Early 70's will definitely be mild steel, the case
hardened unit produce better projection and a cleaner tone to my ears.
I had suggested using a nymonic steel (jet engine tail pipe material) but
the cost was out of sight. I know that Harold Conklin tried several
materials including brass, but I have no knowlege of any of the alternates
getting past the Lab.
Once a groove is cut in the mild steel units the friction goes up
dramatically, causing the difficult tuning response, it is usually
accompanied by obnoxious overtones.
I hope this sheds a little light.
Regards Roger




  I was interested to read Roger Jolly's
>observation that the 'old-type' resonators were made of a material with a
>different carbon content and hardness, so I wonder if there were
>experiments with different prototype models of SD-10 (between the SD-10 and
>SD-10b) with resonators that might be causing the strings to respond
>differently to string pulls?
>
>I'm thinking how tuning stability is related to changes made to the capo
>and other termination points.  What, if any, changes in string pull or
>tuning pin setting has anyone experienced after making
>changes/modifications to the capo bar and/or other termination points?
>
>Rolf von Walthausen
>Traverse City, MI
>
>
>
Roger Jolly
Balwin Yamaha Piano Centres.
Saskatoon/Regina.
Canada.