This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment The "Aliquot" string is not struck and is therefore not at the fore of = the sound you hear when playing a note. It is damped - by a little = damper felt stuck on the side of the damper head. It is above (in = height) its companion strings. It does not share the bridge but has its = own indivual "bridge" of a slender upright with a hole through which the = Aliquot string passes. It starts in the middle and goes right to the top = - BUT the top break is the only area where they are "tuned" at the same = pitch as their partner strings. he main body of Aliquot strings are = tuned an octave high. I only use one rubber wedge and, so long as the = Aliquots are not wildly out, leave them alone. I do, however, check them = using a guitar plectrum and correct as required. Regards from a pouring wet rainy dark night in Sussex. Michael G.(UK) ----- Original Message -----=20 From: Susan Kline=20 To: Pianotech=20 Sent: Saturday, July 30, 2005 9:26 PM Subject: Re: Bluthner Tuning At 01:05 PM 7/30/2005 -0400, you wrote: I just booked a first-time tuning for a Bluthner grand (first time = for me to tune it). It is said to be about 55 years old. Is this piano = likely to have the 4th string aliquot system up in the high treble? If = so, is there any special tuning techniques for it? I've never tuned one = of these. Just pluck it and tune it beatless with the other three = strings of each note? =20 Terry Farrell Hi, Terry.=20 Not sure how much of the piano would have the fourth string, but = probably a lot of the treble. I've only tuned newer ones, which don't = start the fourth string till the high treble. After a pretty short time, = tuning the fourth string feels natural enough.=20 It takes two wedges. Keep the fourth string muted, and tune the other = three to as clear a unison as you can, like usual. I found that the = three-string unisons on Bl=FCthners are very, very clear, almost = colorless-clear. Then, remove the last mute, and you'll probably hear = the unison get angry, more in timbre than in beats. I tune the fourth = string without plucking it, but barely moving the wire, and try to calm = the unison again. It usually will get better, but with a more complex = tone than the three main strings alone. Then I pluck the fourth string = to be sure it isn't some screwy place, like on a different note. If I = can't get the unison to clear after I've added in the fourth string, = I'll pluck the fourth string to find out which way to move it, and then = tinker a little when it's very close to the other three, tuning for tone = quality.=20 I found that once you get the section settled down, and the unisons = tuned for timbre like this, that the fourth string actually seems to add = some tuning stability.=20 Have fun -- it's kind of a neat system, really. I don't think that the = fourth string is for volume. I think that the more complex, less = crystalline sound sustains better. =20 Susan Kline ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/28/3e/48/4a/attachment.htm ---------------------- multipart/alternative attachment--
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