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Fuzz Guitar Show - now with a lot of pictures

You'll be fine. There's theory, and then there's reality when it comes to tuning. He's mostly talking about theory in the video, although he's able to back up what he says with objective fact through the use of precise test fixtures and instrumentation. In reality, many of the "problems" with tuning come from two places - our access to accurate tuners, and playing style.

A very accurate tuner, which is most of them these days, will allow you to see things that you can't hear directly. Less than $10 will get you a device that's good to within a couple cents, and they only get better from there. On the other hand, human hearing just isn't that good for a single tone. Opinions vary, as there's no objective way to be precise about perception, but it's generally accepted that very young ears (think babies) are sensitive down as fine as 5 cents variation in frequency, while a normal adult is at about 25 cents or more. You'll get some argument about that from some people, but blind testing them would return surprising (to them) results.

What even us ancient wankers can hear very easily is dissonance. It only takes a few cents for that to rear its ugly head, and that's what drives us crazy. But, in order to hear dissonance we need more than one tone, and that's where playing style comes in. If you play a lot of chords or overlapping single notes where one note is allowed to sustain as the next note is played, fine tuning takes on a great deal more importance than it does for the player who more often than not is playing serial single notes.

What you really get from the compensated tuning solutions such as the Earvana nut is not so much accurate tuning as a reduction in dissonance due to poor setup or uneven finger pressure. Where you'll notice it is when playing cowboy chords - those "open" chords down by the nut that include both fretted and open strings. As the man says in the video - a proper setup will get you the same thing. It just costs more, because now you're paying for labor and expertise instead of injection molded plastic. The advantage of a proper setup is easier playability, but people have been playing poorly set up guitars for so long that it's become the norm.
 
Hehe! Yeah, I don't know. You can't argue with some people. But, of the uncountable instruments I've run through my shop I have yet to see a guitar that could stand more than a couple cranks on the vibrato or a few minutes of regular playing that would return perfect open tuning results according to a tuner. But, to the ear, if they're properly set up with modern hardware, then they're fine.
 
I hope so  :-\

Cagey said:
But, to the ear,

I have been told that if your tuner craps out on you and you have to tune by ear, and if your hearing is a little off that day, or...more aptly, if you have to decide between a certain key note/string being flat or sharp, it's better to be a little sharp than a little flat.

But then again, who knows...
 
I suppose it depends on what you can hear most easily. Back when I tuned by ear almost exclusively, I would switch between fretted to open comparisions, to unison tunings, to harmonic tunings, often using all three to get right at the beginning of a session. Sometimes special effects can even help, like turning on the distortion box while playing 2 notes a fifth apart. If either of the two notes are out, there'll be a very obvious beat frequency. Tune until it goes away, and move on.
 
So do what I do
Tune to freq, then tune to dissonance for the chord/ positions you are playing.
If you play a 12 string, you learn this quickly.
Q: How do you tune a 12 string?
A: You don't.
 
DustyCat said:
I have been told that if your tuner craps out on you and you have to tune by ear, and if your hearing is a little off that day, or...more aptly, if you have to decide between a certain key note/string being flat or sharp, it's better to be a little sharp than a little flat.

But then again, who knows...

If I remember correctly it's the other way around - better flat than sharp. We guitarplayers have always been tuning the string pairs in perfect fourths (or unison if using harmonics), right? But according to my ex, who's a piano technican, you will end up wrong if you tune the string pairs perfectly, ie as perfect fourths.
It's the same way that you can't tune a piano with every octave perfect or you will end up with everthing sounding horrible - except the octaves!
Hence Bach and his Wohltemperierte klavier.
 
I suffer from apparently having "heard" the intervals between open strings wrong in my audio memory and am relying on a tuner combined with some checking individual chords to get things in place. I hope to relearn the correct sounds of the open string intervals but as good tuners are so accessible these days I will probably continue to use one. I had a look at the True Temperament site and apparently a replacement neck for a strat is about $400. Could be interesting to try sometime on a project guitar but as I understand it its a real bear to level and crown the frets.

I also have learned to lighten up considerably when fingering first position chords in particular and that is helping with them sounding good. Not that I am a basher otherwise but some of the best advice I've gotten was a comment Cagey made one time about "calm down and just play the damn thing" on the topic of playing intonated.
 
musicispeace said:
I also have learned to lighten up considerably when fingering first position chords in particular and that is helping with them sounding good.

  ^
This!
is really good advice IMHO
 
If I remember correctly it's the other way around - better flat than sharp.
[/quote]

He was a horn player who told me this.
 
It could very well be so. I might remember it wrong. I've played with brass and woodwind players and they've told me about how they must alter the pitch of certain notes to make it sound right in an ensemble.
 
His logic, although I think he was just recycling someone else's bs, was that if the pitch is sharp, "it sounds like its going somewhere"
 
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