<html> <body> John, Here's something that Ted Sambell wrote in Oct. 1996 while still at the Banff Centre. I've only tuned one but his post seems to cover it pretty well. Below that one, there's also a post of Newton's. You might also want to c<pre>heck with Reeder Pianos, Inc. in Lansing, Michigan @ 800-225-8641. Jim really knows Bluthners, is an excellent rebuilder and can answer all your questions. His web page is: <a href="http://www.reederpianos.com/" eudora="autourl">http://www.reederpianos.com</a> </pre>Avery At 02:14 PM 9/17/2003 -0500, you wrote: <blockquote type=cite class=cite cite>Are there any "tricks" to tuning the Bluthner grand? What is the 4th string tuned to? Thanks! John Minor Univeristy of Illinois</blockquote> <pre>In response to your inquiry about tuning Bluthner grands; here at the Banff Centre we have six of them, built in Leipzig before the Berlin wall came down. I just looked at a Model 4 (about 6' 8" I believe) and I think the disposition is typical of the other models. Anyway, only the two treble sections have the fourth string, there are none in the bass or tenor. The lower treble runs from G47 to C#65 and there is a separate bridge at the midpoint of the soundboard through which these strings pass via  brass studs screwed into the bridge. The top section has the same kind of studs screwed directly into the main bridge. There is an additional damper felt glued to the sides of the damper head. The clue to tuning  the extra string is the length; in the lower treble the strings are half the length of the 'parent' note so the inverse law (half the  length equals double the frequency) of vibrating strings applies. Therefore the strings must be tuned an octave higher. The top treble strings are the same length as their notes, so are tuned in unison. As you noted, the fourth strings are not struck, as they pass through a raised hole added to the side of the agraffes, and are intended to resonate without being activated by the hammers. Using muting strips is inappropiate when tuning these strings, in fact totally impractical, but a single rubber mute, 3x3/4inches and tuning each of the three unison strings in ascending order works well. The fourth string is plucked to pitch after the regular tuning is completed. This is accomplished by playing each note then plucking the extra string. The concert model Bluthner does not have the fourth strings, at least not the modern ones. We sold ours to a community concert group. Although it had some initial action geometry problems, we were able to solve these, and it was a superb sounding instrument. I did not enjoy seeing it go, but it was getting little use simply because of its unfamiliarity. Pianists would ivariably choose our Steinways, which are also splendid instruments. In general, the smaller Bluthners are not very satisfying, though I have seen a newer piano which appears to have been redesigned; the fourth string is confined to the top section and lies directly on the bridge instead of passing through a stud. Our versions were ordered about twelve years ago, with Renner actions instead of the Flemming actions generally used by Bluthner. I am thankful for it, as the Flemming centers are made with plastic lined brass bushings. These proved quite troublesome in another Bluthner I used to service for a private customer. Like many German makers the bass strings have cores which  are hexagonal, and they sound very good except for those near the tenor break. I believe that the thinner copper tends to conform to the core and become slightly out of round. This is not confined to Bluthner of course. Aside from this, the cores seem to hang up in the agraffes, causing a fairly high breakage rate. Like you, we make our own bass strings, but stocking hex wire is something we do not intend doing. All in all I wish manufacturors would stay with round wire. Bluthners are very well made, in some respects lavishly so and, with some reservations deserve to be as prominently known and accepted in North America as they are in Europe. While I am about it I should mention that I am aware that there should an umlaut obove the U in the name, but was unable to do this. All the best, Ted Sambell_banffcentre.ab.ca </pre>================================================================= <pre>Some Bluthners (pronounced Blootner, like boot) have aliquot strings, some do not.  Many of those that do have a secondary bridge in the tenor section which divides the aliquot string in half.  Those are tuned at an octave above the unison.  Those in the high treble are tuned as unisons. Because of inharmonicity the octave aliquots will have a beat in the higher partials that cannot be removed.  Be aware of this and set the aliquots to a good first and second partial.  You may not notice this difference except on the concert grands. <x-tab>        </x-tab><x-tab>        </x-tab>Newton </pre><blockquote type=cite class=cite cite>_______________________________________________ caut list info: <a href="https://www.moypiano.com/resources/#archives" eudora="autourl">https://www.moypiano.com/resources/#archives</a></blockquote> <x-sigsep></x-sigsep> ______________________ Avery Todd, RPT Moores School of Music University of Houston Houston, TX</body> </html>