Hello everyone, I have enjoyed reading the comments regarding capo bars/termination points and the issue of having to balance the elimination or reduction of zings and noises in the duplex with the corresponding loss of projection and tone color. I find that I'm constantly having to judge the appropriate trade-offs as they apply to the needs of different situations (i.e. recording studios, concert halls large and small, and a client's living room). I think Horace summed this up eloquently a few days ago when he talked about recording techniques and the influences of recorded sound on our ears and expectations. My question may or may not be related to this thread, but seems to have germinated from it so here goes. The specific situation I'm trying to figure out has to do with a Baldwin SD-10 from the early 70s that was restrung five years ago with the original 'treble resonators'. Nothing else was modified as far as I can see. The problem is that the strings in the treble section D5-G6 do not move in corresponding units with similar movements of the pin. The feel and response is much like that of a Steinway upright where the string moves a large amount all of a sudden after many movements of the pin in the block. I've never experienced this before on an SD-10, either with the old-type resonators or the new type. 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
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