Dan Wilson queries the 160 wires running out of the London Duo-Art
recording piano.  We can see from 'originals' -- that is, actual
recordings, not 'trials' -- that when the dynamic recording desk was
first introduced by Creary Woods it allowed theme perforations to be
inserted in real time, so that a "finished" roll could be instantly
replayed to the artist, a unique claim made in Aeolian press copy.

The theme snakebites were almost certainly enabled by left and right,
bass and treble, foot switches under the desk (photos strongly suggest
this) which were "anded" apparently via relays with contacts near the
end of the hammer travel and the key contacts.  This caused only
hammers rising when a pedal was pressed to insert snakebites but
prevented already played and held notes from inserting perfs.

The system was clearly difficult to adjust and operate, produced too
rough results, and had an acknowledged adverse effect on the piano
touch, and swathes of undesired theme perfs are sometimes found.

In a letter to Reynolds, Creary Woods mentions the removal of this
function and its contacts and wires in both New York and London, with
a consequent improvement in touch.  From then on snakebites feature
only in originals which were themselves edited (rarely) and trials,
obviously being judiciously inserted in retrospect.

Paddy Handscombe
London