<html> Hi Kevin,<br>              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.<br> The woven bushing felt was put there to reduce resonant interaction from the plate and string.<br> Behind the note I put a series of question marks. Not sure if I understood, or was just sceptical.<br> Just some extra trivia.<br> Roger<br> <br> <br> <br> At 08:23 PM 26/10/00 -0700, you wrote: <br> <font size=2><blockquote type=cite cite>    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. <br>     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. <br>     By the Way, thanks for the feedback. Can't wait to meet you guys in Reno. <br> Kevin E. Ramsey, R.P.T.<br> Phoenix, Arizona<br> <font size=2><a href="mailto:ramsey@extremezone.com">ramsey@extremezone.com</a><br> </blockquote><br> </font><br> <div>Roger Jolly</div> <div>Saskatoon, Canada.</div> <div>306-665-0213</div> Fax 652-0505 </html>