Tuning the Duplex (was ...Capo)

Alan R. Barnard mathstar@salemnet.com
Tue, 3 Sep 2002 20:48:00 -0500


Jason Kanter said:

"I'm puzzled ... the duplex is there for a design reason, after all, which I
presume is to create additional harmonics and add to the esthetic quality of
the tones. Sounds like the universal consensus is that the duplex is
generally more trouble than it's worth. *Not one* of you ever retunes the
duplex??? (I say this without yet having checked the archives for Ron Overs
on "detuning the duplex" but the title appears to substantiate my guess
here.)"

Someone obviously thought it was a good idea and others copy it. I always
supposed it was to reinforce high partials, even dissonant partials, to add
brilliance to the tone--much like the mixture stop on a pipe organ which
adds little bitty pencil sized pipes.

On the other hand: How many "reinforced" hammers are just white felt with
purple, grey, or yellow food coloring slapped on? What is the REAL purpose
of fancy, thick, wide, understring felt? How about velvet rope glued to the
plate rim? When is an upright an "Upright Concert Grand"

Sizzle without substance, says I, to hook the fish in the showroom.

By the way, here's a multiple-choice test on the understring felt question:

(  ) A. To collect dirt.
(  ) B. To hold rust-inducing moisture against the string.
(  ) C. So potential customers can go "Ooh, ahh! Pretty."
(  ) D. To make tuning just a wee bit tougher.
(  ) E. All of the above.
(  ) F. None of the above.
(  ) G. Some of the above.
(  ) H. No one knows, no one cares.

Alan Barnard
Salem, MO



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