SD-10 Clarification

[Roger Jolly]

Hi Charles,
                  Thank's for the input, sounds logical. The notes I had,
asked as many unaswered questions as it did answers.
I recently had the chance to look at one his prototype's (SD12?). Baldwin
donated it to the Cincinnati Museum of Art. The forward duplexes were tuned
an octave higher than the speaking length. The trench was clearly visible,
the resonators were split, and looked to be adjustable. The treble sounded
cleaner, but lacked the power of a production SD10.

It had a welded steel plate, and metal action frames. I'm guessing, but
probably the plate was made this way to save the cost of making a pattern
for a casting.
I wish there was more time to examine more closely. 

Regards Roger



At 05:20 AM 28/10/00 -0500, you wrote:
>I think there's a somewhat simpler explanation. The woven cloth is used
>to cover up the milled trench that is cut into the plate to provide a
>flat surface for the termination pieces.
>
>Charles Faulk
>
>On Fri, 27 Oct 2000 23:36:09 -0600 Roger Jolly <baldyam@sk.sympatico.ca>
>writes:
>> Hi Kevin,
>>              I had re read your post yesterday, and went searching 
>> for some
>> note's that I had made after a conversation with Harold Conklin, 
>> (25yrs ogo)
>> I'm a pack rat.
>> The woven bushing felt was put there to reduce resonant interaction 
>> from the
>> plate and string.
>> Behind the note I put a series of question marks. Not sure if I 
>> understood, or
>> was just sceptical.
>> Just some extra trivia.
>> Roger
>> 
>> 
>> 
>> At 08:23 PM 26/10/00 -0700, you wrote: 
>> >
>> >     OK, I've read most of your posts, and I need some 
>> clarification. On most
>> > grands, You have (back to front) the rear duplex, the speaking 
>> length, and
>> > between the capo bar and the pressure bar is the front duplex. 
>> Then you have
>> > a nice thick piece of understring felt. On these Baldwins you have 
>> the same
>> > set up, but where the understring felt is, you have a piece of 
>> bushing
>> cloth,
>> > which doesn't even touch the strings. So, in effect, you have two 
>> front
>> > duplexes. If you think about each note, you have a front pin, a 
>> middle
>> tuning
>> > pin, and a rear pin. Three different string lengths, with some not 
>> the same
>> > length proportionate because the waste length is shorter where 
>> some tuning
>> > pins are closer than others, and the string actually touches the 
>> next tuning
>> > pin. No harmonics involved here, just one more string segment 
>> vibrating
>> along
>> > with the real front and rear duplexes. 
>> >     Maybe it sounds different out in the audience, but it can 
>> really sound
>> > bad when you're trying to tune one. Should I not worry about this. 
>> I swear,
>> > when I would play a note, and then touch the front (I'll call it 
>> waste
>> > length) the sound became cleaner, and more pleasing. 
>> >     By the Way, thanks for the feedback. Can't wait to meet you 
>> guys in
>> Reno.
>> >
>> > Kevin E. Ramsey, R.P.T.
>> > Phoenix, Arizona
>> > <mailto:ramsey@extremezone.com>ramsey@extremezone.com
>> 
>> 
>> 
>> Roger Jolly
>> Saskatoon, Canada.
>> 306-665-0213
>> Fax 652-0505
>
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Roger Jolly
Saskatoon, Canada.
306-665-0213
Fax 652-0505