Tuning Duplex

[Greg Newell]

Dan,
    I understand your points made hear but I would dearly love to hear this in
operation. I guess I'll have to wait until National (is that right?) next year.
In the mean time where can I look up the language of Mr. Steinway's patent?

Greg

P.S. Thanks to you Dan and also to Ron N. for the informative responses!

Duplexdan@AOL.COM wrote:

> To Greg Newell
> Dear Greg,
>
> Of late there has been a dramatic increase in interest in tuning duplex
> scales, both front and rear. As an individual who as espoused the tuning of
> duplexes for some years and has devoted a great deal of time to research and
> teaching of this procedure I am delighted to hear of another colleague
> interested in the subject.
>
> I must be clear that I am not "the " authority, although I may be be guilty
> of being the most avid enthusiast. "The" authority, as far as I'm concerned
> was Steinway who invented the feature. If you haven't read his patent, I
> suggest you do, and if you like I will be glad to mail you a copy, gratis.
>
> Getting on to your inquiry. You raise a few points and make some comments all
> of which I may not be able to thoroughly satisfy you with, but I'll try to
> get a leg up on the subject.
>
> First of all about bearing. Yes, moving the secondary bridge, also called the
> oliquot, push plate, or as I like to call it, the harmonic bridge, would
> theoretically affect the bearing. However the amount of movent of this duplex
> harmonic bridge is so negligible in the tuning process, the duplex generally
> moving less than a quarter of an inch either way, that I suspect the effect
> of alteration of the bearing would be negligible. At least in 15 years of
> practice I have never worried about it and have an almost 1000 batting
> average on improvement of the tone and sustain by tuning the rear duplex. ( I
> can't discuss front duplexes because I have nothing worth offering in the way
> of support.)
>
> Point 2, duplexes "in tune" and sounding simultaneously.
>
> There are two theories about what happens to the duplex when the speaking
> length is activated. One theory is that the duplex sounds and depending on
> the note either helps or hurts the quality of the speaking length. The other
> theory, which I subscribe to, is that the length of the duplex scale portion
> of the string is the key factor
>
> According to Steinway's original patent when the duplex portion of the string
> is an "oliquot" portion of the speaking length, meaning a low fraction such
> as a half a quarter, a third, that the vibrations of the speaking length
> proceding across the sounding board bridge and returning  are copacetic with
> the vibrations of the speaking length. Steinway speaks of longitudinal
> vibrations of the string being the important element. I believe he means when
> the transverse vibrations of the speaking length agree in a fundamental way
> with the longitudinal vibrations promoted in the duplex scale that the
> sustain and quality of the entire tone of the string is improved.
>
> My motto is: If it can be tuned , it should be tuned.
>
>  I think that's the purpose of the duplex scale.
>
> I hope this has been somewhat helpful.
>
> Dan Franklin, RPT

--
Greg Newell
mailto:gnewell@ameritech.net