Tuning 4th String on =?U

[Ted_Sambell@BanffCentre.AB.CA]

        Reply to:   RE>Tuning 4th String on =?UNKNOWN?Q?Bl=FBthner?= Grand
Hello Joel!

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.

I recollect meeting you and Priscilla some years ago in Detroit, and your
names came up recently when Jose Fenghali was here. He has a high regard
for you.

All the best,
Ted Sambell_banffcentre.ab.ca

One other problem is very severe; the polyester finishes have cracked
badly, bu



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