Terry

------------------
Mullen RP D10 /8x5 / Nashville 112 x 2 / American Tele and Fender
Hotrod Deville 2x12's
Thank God for music.

------------------
Mikey D...

Now this is the perfect example of how what works for one doesn't work for another. I tried it once, on one show, years ago, when I was with Tammy Wynette. Everybody in the band afterward asked me what happened. Our guitar player said (I will NEVER forget his line), "You sounded flatter than a day old plate of pi$$!"

After I went back to 440, we did some shows with one of our fellow forum members. He sat down to my guitar at a soundcheck, messed with it, and came up to me and said, "Mike, I don't understand it. That's the most out of tune steel I've ever sat down to in my life... but when YOU play it, it is dead on the money. How does that work?" I explained it to him...

------------------
Mikey D...

------------------
Mikey D...

Sign me

never been happier

Ernie

------------------
Bobby Lee (a.k.a. b0b) - email: quasar@b0b.com - gigs - CDs, Open Hearts
Williams D-12 E9, C6add9, Sierra Olympic S-12 (F Diatonic)
Sierra Laptop S-8 (E6add9), Fender Stringmaster D-8 (E13, C6 or A6) My Blog

Tuning anything "flat or sharp" except for strange things like playing with an out of tune piano, never made any sense to me. I was playing twenty years full time, steadily and as successfully as I wanted to until I found out people actually tuned differently. At first I laughed, seeing how many years I have been aware of the difficulties of an arbitrary, mathematical stretched "equally divided" scale, and then after reading miles of incoherent horsehocky, I began to get concerned that new players were liable to get hopelessly confused by this nonsense.

The last "Tuning" thread from a new player was a perfect example.

I think the basic problems I've had with some of the systems here are that in explaining them, people seem to get either too wordy, or insulting.

Then there's a famous guy, inarguably the most famous guy of all that tunes his guitar "straight up". No bones about it, and "a cent or two on the G#, STRICTLY for temperature changes".

Astoundingly, all the insults (and wordy "theorums") seem to vanish.

Except behind his back I suppose..

I think the other Absolute "Top Guy" I have talked to has only one simple "Theorum", and one worn old chromatic pitchpipe. He says, and I quote: "Just tune the %*<#ing thing, and play it."

It can be as complicated as you want it.

Should you run out of reasons to get out there and play live with other musicians, "tuning issues" will do just fine.

Or reasons to argue with them.

To answer your original post header, I tried it for the heck of it, but there were too many things it put out of whack for me, like accidentals in single note runs, and pedal/kl combos I like to use.

Major chords with partially minored thirds hae always sounded bland and lifeless to me.

Certainly nothing wrong with doing anything but sitting home from my point of view, but then that's just me.. Others must, from physical or mental different/ableness, or just plain "do their best work there".

EJL

(PS To Terry.

I know you're a guitar player. Try this.

Fuzz out your amp.

Play an unflattened major third interval.

Listen to the beats. I think it's six per second or so.

Then play the same interval with a Fifth and another octave of the root. Same distortion.

No "beats". Not if you add another root note at an octave.

I guess, then, a person could say that if the "root" of a chord is so imprinted in a persons' mind from playing and listening for 50 years, you might just "supply" it in your mind's ear.

Even when in actually it's a note that "no longer exists"..

I loved that one...(b0b)

Now go out and PLAY.)

Pedal steel has choices. You can have a justly intoned major third and raise it to a flat (JI) or ET fourth. You can install compensators. You can move the bar to match the pitch.

More recently, though, my ears are hearing things differently and I seem to sound out of tune with everything at 440, regardless the setting (at home or with the band). So, I decided to go back to Jeff's tuning.

quote:

---

I'm avoiding these "tuning threads" if I can Terry. I think it's a bigger waste of time than I want to include in my full schedule..
Tuning anything "flat or sharp" except for strange things like playing with an out of tune piano, never made any sense to me

---

Eric, you don't have to convince me, I'm a beleiver. I tuned to Jeff's old chart for quite a while, thinkin If it was good enough for Jeff Newman it should be good enough for me. But, when I decided I'd try to tune back straight up, I could tell I was definately more in tune than I was with the chart. Not saying Jeff was wrong, maybe it's the difference in guitars(cabinet drop)or whatever. I've been tuning straight up every since.

Actually though, I didn't mean for this thread to beat a poor old dead horse, that's already had to many whoopins.
I was talkin about the new chart that's on Jeff's website as apposed to straight up.
I was just thinkin if the new chart is different than the old chart, I might give it a try, but I feel like I'd go right back to 440.

Billy, I have a Boss TU 12H tuner. I tune straight up and my guitar sounds very much in tune to my ears. I know the peterson tuners are more accurate, but I'm not sure that my ears could tell the difference if I tuned with a peterson, as opposed to my Boss tuner. But, if I could afford a peterson, I'd probly be using one.

Terry

------------------
Mullen RP D10 /8x5 / Nashville 112 x 2 / American Tele and Fender
Hotrod Deville 2x12's
Thank God for music.

[This message was edited by Terry Sneed on 17 September 2006 at 11:40 AM.]

Play it.

Heck, you can even type about it.

Or spend time "readin about it" if you don't have anything else to do.

For me it's time to plug in the G&L for a few hours.

EJL

[This message was edited by Eric West on 17 September 2006 at 12:46 PM.]

------------------
Dave Wren
'96 Carter S12-E9/B6,7X7; NV 112; Fender Twin Custom 15 ('65 reissue); Session 500s; Hilton Pedal; Black Box
www.ameechapman.com