Originally posted by David Klavins:
Beacon Chris,
Thanks for your kind words!
My main motivation, why to develop this size of a concert grand, is based on three major factors, or experiences during my professional career:

1. I generally disagree with what I was told during my piano builder's education - that the established concert grands are "perfect", the piano development as such is finished, there's no room for any innovation. I'm an analyst and researcher by nature, and found out very early, working as piano technician and tuner, that those statements are far from being true.

2. During the course of doing concert tunings and mechanical adjustments for high-profile pianists, I found out that many of the artist's requests could simply not be satisfied because of defective piano construction and design. Especially, their complaints about sound characteristics, which could not be satisfied by voicing or any other, typical piano technicians' work; for instance, the heavily dissonant partial tone load of every traditional bass register, or differences in tone character, volume and partial tone structure at the treble register.

3. At one important point in my life (about 25 years ago) I met an American gentleman, who listened to my project of manufacuring high quality, but cheap pianos (such a product line I was planning to set up in Germany at that time). After I had explained my considerations to him, he said: Wrong, absolutely wrong, my friend! The Chinese will always be cheaper, they'll take your ideas and knock you out by their financial power. So, here's my advice: if you want to succeed in life, and you've got the ideas, create the VERY BEST of something, no matter what it costs - you'll have YOUR position, YOUR product, no competition!

Shortly after this conversation I began planning the Model 370...

Gene Nelson,

Yes, I am familiar with David Rubenstein's concert grand, and I highly respect him for his achievment! However, I think it is wrong to stick to the traditional grand piano shape, if you want to improve the sound remarkably, since that shape implies a way too NARROW sound board. My main critic of the traditioal concert grand is the inadequate sound board shape, and size, way too stiff for middle- and bass frequencies to produce a strong AND beautiful sound.

As you can see on the pictures, the soundboard of the 408 is rather recangle shaped, the width in the middle and bass bridge range is more than twice of that of the "narrow-tailed" traditional grand piano's soundboard. This allows the board to vibrate at higher amplitudes, which is vital for the bass and middle register frequencies, in particular.

To balance the treble part, with the enhanced bass and middle register, I have developed some special constructional details, which enhance the treble part sound naturally, without generating too much of dissonant partial tones. You can't avoid them absolutely, if a maximum loudness is requested, but by paying attention to a maximum, 100% precise design of all string- and bridge-related details, the dissonant partial tones can be kept to a minor level.

In addition to the completely re-designed soundboard shape and dimensions, I have developed a keyboard and action system, that contains none of th organic materials anymore, except the hammer head felt - for sound, in particular, voicing reasons.


Hi Mark,

You're right - there is no case around the soundboard, though the soundboard will be completely embedded in the (very solid) rim. Close-ups of this part would make no sense with the 3D CAD model, since it does not show many costructional and design details as such, it was produced to show the basic idea, the looks and principles implemented with this design. [/b]

Originally posted by Mr_Kitty:


Bosendorfer made a 12 foot grand once..... it also sucked-bass was WAY too powerful compared to treble [/b]

Originally posted by Mr_Kitty:
...Bosendorfer made a 12 foot grand once..... it also sucked-bass was WAY too powerful compared to treble (ALREADY a problem on standard Bosie's)...[/b]

1. Do you think it makes sense to create, and invent innovative pianos at all, like the Model 408, or would you stick to the traditional concert grand piano anyway? (Reasoning)

2. Which color would you prefer for the Model 408?

3. What is your opinion on the sound characteristics of the Model 370?