Understanding Duplex Tuning and placement.

[Duplexdan@AOL.COM]

Phil Bondi

Dear Phil,

I read your letter with interest because you are somewhaere close to where i 
was some years ago regarding what to make of the Duplex Scale. When i 
discovered this unique phenomenon, I was deeply concerned with it because of 
my job as a chipper, and my interest in tuning. You have made it clear that 
you have "other things" as priorities, so i don't know how far you are ready 
to go. But you are on the right track as far as discoveing the secret of the 
"lost ark" of tuning duplex scales.

Let's take your data; B4-C#7. Wouldn't that be nice if it was B4 to a double 
octave?
And carry this trough E5 to E7 instead of F#7

Then you'd have a duplex scale that was the 4th partial of the speaking 
length.

This continues up your list if G5 had a duplex tone of D7 instead of D#7 
you'd have an octave and a fifth.

Continuing on if D 6 had a duplex of D7 you'd have an octave duplex.

So what's wrong" The contiguous harmonic bridge is too close to the sounding 
board bridge and must be moved toward the hitchpin elongating the duplex 
portion of the string to make it an oliquot portion of the speaking length. 

If you have time you may be interested to research the article entitled " A 
Tuner's TenYear Tonal Treasure Hunt in the Journal of May `1995. It may help 
you in your quest for understanding of the nature and function of the Duplex 
Scale.

Duplexdan