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Author
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Topic: ''Question About The Peterson Tuner''
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Gary Preston
Member From: Columbus, Ohio, USA
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posted 25 September 2006 01:54 PM
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This is a puzzle to me and maybe some others also . Please understand that i'm not making any rash judgement about these tuners . Some of my friends sware by them and think there isn't anything like them . Here is the question that i have . I tuned up to one last Saturday at the jam and i wasn't close to being in tune . I used the Newman pre-sets and it wasn't pleasing to my ear . I had to re-tune my guitar . I would like to know how this can be ? Please educate me on this . Again i'm not being mean in any way . This is so puzzeling to me . Help me if you can . Best regards , Gary . |
Jack Stoner
Sysop From: Inverness, Florida
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posted 25 September 2006 03:00 PM
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The pre-programmed settings are not for everyone. I use a Peterson but have my own settings programmed into it as I use a modified (modified for my guitar) Newman settings with the E's referenced to zero. The user programmable memories are a big plus.It also depends on which model Peterson. The VS-II has the Newman settings with the E's (on the E9th) referenced to +10 cents (+2.5hz). The newer Stobe O Flip has both the Newman settings at the +10 cents and also with the E (on the E9th) referenced to Zero. |
BobbeSeymour
Member From: Hendersonville TN USA
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posted 25 September 2006 03:29 PM
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Gary, get a new ear! (Ha! Ha!) |
Chris LeDrew
Member From: Newfoundland, Canada
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posted 25 September 2006 04:13 PM
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My old Sho~Bud has a lot of unique (nice way of putting it) cabinet drop, so the Peterson presets are not as effective. But on the Carters, they were dead-on. |
Kevin Hatton
Member From: Amherst, N.Y.
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posted 25 September 2006 04:58 PM
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Gary, as I said in another thread a steel guitar has to be tuned to itself. The old timers know this and it took me years to realize. The old timers didn't have meters and if you listen to Rugg, Emmons, Green or Brumley they are in tune. I tried to rely on numbers off a tuner. You can't. No one chart will tune all steel guitars. There are factors such as cabinet drop to account for. If you learn to tune your steel guitar by ear and then progam your Peterson to those numbers you will be a happy player. Whether you tune beats out of your third and sixth intervals or tune straight 440 is another factor. I have alot of respect for the old timers. This is assuming that you have a steel thats in good regulation. If your guitar is out of regulation and maintenance nothing will keep it in tune.[This message was edited by Kevin Hatton on 25 September 2006 at 04:58 PM.] [This message was edited by Kevin Hatton on 25 September 2006 at 05:00 PM.] |
Gary Preston
Member From: Columbus, Ohio, USA
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posted 25 September 2006 05:03 PM
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Thanks guys . Bobbe behave yourself ,i know you dont use any tuner! Maybe you could lend me ''your ears '' ! My Sho~Buds have very little cabinet drop and the 442.5 would never work on these guitars . The tuning that i used was the temper tuning and not 442.5 . What i did was tune my ''E'S '' to 440 and tune the rest to my ears and then plugged in my ''Boss TU-12'' tuner and made a chart and my guitars sound much better than using these temper tunings . Gary . [This message was edited by Gary Preston on 25 September 2006 at 05:08 PM.] |
Dick Wood
Member From: Springtown Texas, USA
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posted 25 September 2006 05:41 PM
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I use one on my Carter and my new Williams and I feel it's as close as you can get,especially in a noisy club setting.------------------
Cops aren't paid much so I steel at night. |
Robert Leaman
Member From: Murphy, North Carolina, USA
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posted 25 September 2006 07:36 PM
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Since I began with steel guitar in 1946, I didn't even think about such a device as a tuner. I carried a concert A tuning fork, which if held over the guitar pickup, made a concert A tone. I learned to tune by ear using intervals. Now, I have Sabine Chromatic tuner which only provides an E (4th string on E9th neck) and a C 3rd string on C6th neck). All the other strings are tuned by ear using intervals. No one has ever told me that I am not in tune. I suppose that since I tune for beatless intervals, I am not using a tempered tuning. Neither the band nor I care about that since they tell me it sounds good. I don't know if my Sierra Session D10 has cabinet drop but I suspect that if so, it is negligible (adj. that which can be disregarded or neglected, trifling). |
David Doggett
Member From: Philadelphia, Pennsylvania, USA
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posted 25 September 2006 08:53 PM
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Gary, as far as I know, Jeff never explained how he arrived at his tunings that are programmed in the Peterson. They seem to be very close to just intonation (untempered and beatless) with a moderate amount of cabinet drop. They are very close to what most people would get if they tuned the Es to his reference, and tuned the rest of the strings and stops by ear to the most common intervals and chords played. It seems likely he used the guitars he had at hand to come up with a sort of average tuning for the average modern pedal steel. But no individual guitar is exactly average. The system you have used in the past, of taking a reference for the Es and tuning by ear and writing down what the meter shows, should also work on the Peterson. You just have to set up your own presets. For some people who have guitars similar to the ones Jeff used to develop his chart, maybe his chart or the Peterson stock preset works okay.I know some people get irritated by complex discussions of this stuff, but the pedal steel is actually one of the most complicated instruments to tune. The orchestral strings are fretless like steel, but they only have four strings, and tune them to 4ths or 5ths, which are essentially identical for just intonation or equal temper. But steel has 3rds, 6ths and 7ths, for which there are many tuning systems possible. Tuning the beats out by ear (just intonation or JI) is one, and tuning straight up to a meter (equal temper or ET) is another. But unlike equal tempered instruments such as keyboards and harps, steel can have movable JI chords that can play JI intervals in any key. So we have alot of choice in tuning systems, and that causes much confusion and controversy. Even the top pros do not agree on how to tune a pedal steel. So we all just have to play around with the different systems and find out what works best for our ears and our guitars. In the end, our ears are the final judges, not charts or meters. |
Mike Shefrin
Member From: New York
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posted 25 September 2006 09:01 PM
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I don't use any device other than my ears to tune the strings and pedals. It's not perfect but hey what is? The most problematic part for me is getting the e to f knee lever raise change temper tuned to the rest of the notes already in tune. The rest is pretty straight ahead. When I listen to myself on recordings I sound very in tune so I guess it works for me. Not putting down the electronic methods of tuning when I say this. I play an Emmons.[This message was edited by Mike Shefrin on 25 September 2006 at 09:02 PM.] |
Chris LeDrew
Member From: Newfoundland, Canada
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posted 25 September 2006 09:34 PM
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One of the biggest benefits of the Peterson for me was the way the E9 presets locked in the E-F lever. First time it ever sounded in tune to me. |
Jeff Agnew
Member From: Dallas, TX
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posted 26 September 2006 07:18 AM
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quote:
Jeff never explained how he arrived at his tunings that are programmed in the Peterson.
Several years ago he told me that he had Lloyd Green sit down and tune his guitar by ear until he was satisfied. Then Jeff hooked up a tuner and wrote down the numbers for all the open strings and pulls. That became the basis for his first chart (pre-Peterson). He later modified those values. I've never had the opportunity to ask Mr. Green if this was true but it is the way Jeff explained it to me when I asked. |
David Doggett
Member From: Philadelphia, Pennsylvania, USA
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posted 26 September 2006 07:27 AM
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Thanks, Jeff. That makes perfect sense. If I start with the same reference Es and tune the rest by ear, when I check the meter it is very close to Jeff's chart. I would imagine the same would be true for most people tuning a typical modern pedal steel by ear. The trick in tuning by ear is to know which strings to tune to which chord, and to know which string is the reference for each chord, that is left untouched while the other strings are tuned to it. It is not always the root of the chord. In the following thread, I explain how to do it step by step.
http://steelguitarforum.com/Forum5/HTML/013437.html [This message was edited by David Doggett on 26 September 2006 at 08:18 AM.] |
Kyle Everson
Member From: Nashville, Tennessee
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posted 26 September 2006 09:52 AM
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Thanks, David. I plan to try that today at practice. I usually tune by ear when the environment permits. Normally I go by the harmonic tune-up process in Winnie Winston's book.------------------
Kyle Everson
Sho-Bud Pro-II
Fender Twin Reverb
Goodrich 120 |
Earnest Bovine
Member From: Los Angeles CA USA
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posted 26 September 2006 10:58 AM
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from http://www.jeffran.com/tuning.php
here is Jeff's tuning chart:
Open A B C D E F G X
F# 441.5 G 441.5
D# 439 D 439/C# 438.5
G# 439 A 441
E 442.5 F# 439.5 D# 440.5 F 435.5
B 442 C# 438.5 C# 438.5 A# 442.5
G# 439 A 441
F# 441.5 G 441.5
E 442.5 D# 440.5 F 435.5
D 441.5
B 442 C# 438.5 A# 442.5
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Same table, with frequencies expressed as deviation from ET in cents, using 4 Hz = 1 cent:
F# + 6 G +6
D# - 4 D -4 / C# -6
G# - 4 A +4
E +10 F# -2 D# +2 F -18
B + 8 C# -6 C# -6 A# +10
G# - 4 A +4
F# + 6 G +6
E +10 D# +2 F -18
D + 6
B + 8 C# -6
.
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sort these for easy comparision of intervals:
E# - 18
A# + 10
D# + 2
G# - 4
C# - 6
F# + 6
B + 8
E + 10
A + 4
D + 6 (or -4 for high D)
G + 6
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As in any just tuning system, some of these intervals will sound very good, some not so good, and some cannot be used at all. For example, you can see that Jeff could never have played F# and C# at the same time. Other unusable intervals in this system would include A-F#, A#-F#, G-B, D#-A#, A#-E#. Also, his high D (2nd string) would not fit with A or F# or the low D string. So you can be sure that Jeff avoided those intervals in his playing style. I am kinda surprised that Jeff gave up the F# to A# interval by tuning the A# so high, because I don't see any intervals that sound good with it, except G - A#, which I doubt that he used much. If this tuning chart doesn't work for you, it may be on account of you playing intervals that Jeff avoided. |
Bobby Lee
Sysop From: Cloverdale, North California, USA
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posted 26 September 2006 03:51 PM
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I have an open F# on the 1st string and a pedaled F# on the 4th string. They aren't tuned the same. Look at Jeff's chart above (thanks, Ernest). Same problem.
How does the Peterson tuner know which F# you're trying to tune?------------------
 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
[This message was edited by b0b on 26 September 2006 at 03:52 PM.] |
Gary Preston
Member From: Columbus, Ohio, USA
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posted 26 September 2006 04:26 PM
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David you have said just what i did also before posting this thread . Then i plugged in my tuner (Boss-TU-12) and made a chart from that . I found out it came out very close to Jeff Newmans first chart that someone said that Lloyd Green tuned his guitar to . I have to agree that all guitars will not tune up the same way ! How can any Steel Guitar be in tune straigh up at 440 across the strings ??? Thats another post i know ! Again thanks for all your
input ,i feel better now . Best regards , Gary . |
Kevin Hatton
Member From: Amherst, N.Y.
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posted 26 September 2006 05:55 PM
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There is no reason why E's shouldn't be smack on at 440 if you have a guitar with no cabinet drop like a LeGrande III, Push Pull, or some others. It just doesn't make sense. You would be tuning sharp of your own band. |
Bobby Lee
Sysop From: Cloverdale, North California, USA
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posted 26 September 2006 07:29 PM
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quote:
I found out it came out very close to Jeff Newmans first chart that someone said that Lloyd Green tuned his guitar to.
As far as I know, Lloyd Green tunes by ear. No tuner. Someone can correct me if I'm wrong.------------------
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
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David Doggett
Member From: Philadelphia, Pennsylvania, USA
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posted 26 September 2006 09:00 PM
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b0b, you misunderstood. In Jeff Agnew's post above, he said that Jeff Newman once told him that he (Newman) had Lloyd Green tune a guitar by ear. Then he checked everything with a meter, and that is where Newman's chart first came from. I don't think anyone meant to imply that Lloyd himself ever used such a chart. |
Eric West
Member From: Portland, Oregon, USA
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posted 26 September 2006 09:17 PM
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Well Mr Doggett, when I've talked to him, as I have regularly for a couple years, he's never said anything about tuning any special metered way. No "cents sharp or flat by some 200$ Virtual Strobe Tuner". I saw, and indeed touched the old round chromatic tuner he uses."Tune the &**(*% thing, and PLAY it." is the direct quote I can directly and have permission to relay from Mr Green on the subject. I'll have to ask him if he is indeed the "author" of the Jeff Newmann Tuning Chart. That would be very interesting. Mr Emmons's comments on the subject should still be available on b0b's HDDs. I hope you guys get it figured out. I know I did.  EJL |
Jim Cohen
Member From: Philadelphia, PA
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posted 26 September 2006 09:29 PM
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Eric, I think you've misunderstood David's post above. A closer re-reading should resolve your confusion. |
David Doggett
Member From: Philadelphia, Pennsylvania, USA
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posted 26 September 2006 09:46 PM
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Kevin, right, if there is no cabinet drop, the open Es and the B pedal As can be straight up 440. It looks like the guitar used for Newman's chart had about 6 cents cabinet drop. If he put the Es 6 cents sharp (441.5), his As would be 440. Some people (Paul Franklin for one) tune 1 Hz (4 cents) sharp to add some "stretch" tuning to account for the register of the E on the 4th string. That would put Newman's Es at 442.5, which is where they are on one of his charts. If it was me, I would not want to have either the Es or As 6 cents off. Anything over 5 cents is noticeable. I would split the difference. I would tune the Es 3 cents sharp (440.75), and let the As drop 3 cents flat. This makes both very tolerable when playing open at the nut. I guess with the "stretch" added, the Es would be 7 cents sharp or 441.75, call it 442.The F# on string 7 cannot be compatible as both the 5th of a B chord with strings 5 and 10 as roots, and as the root for the F#m chord with the B pedal stop as the minor 3rd. I tune the F# on string 7 straight up as the 5th of the B chord (my Bs are tuned straight up as the 5ths of the E chord). That straight up F# on string 7 also works well as the 2nd or 9th of the E scale. For the root of the F#m chord, I raise my 8th string E to F# on the C pedal. I tune it (by ear) about 16 cents below the B pedal stop A, so that the A is an appropriate JI minor 3rd. I tune the other C pedal stops (by ear) to match the 8th string stop (16 cents below the B pedal stop). In addition to solving the tuning conflict for the root of the F#m chord, I like the sound of that 8th string pull with the B and C pedals. [This message was edited by David Doggett on 26 September 2006 at 10:32 PM.] |
Kevin Hatton
Member From: Amherst, N.Y.
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posted 26 September 2006 10:02 PM
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That was my conclusion Dave. I have never seen a guitar with 6 cents cabinet drop, and if I did I wouldn't play it. My ZB has 2 cents. Barely noticeble. 3 cents on the six string with the A pedal, so I pull th temper in to -10. I tune pedals down to the E's straight up. F# 7th string is straight up. This Newman charts never made any sense to me. [This message was edited by Kevin Hatton on 26 September 2006 at 10:05 PM.] |
David Doggett
Member From: Philadelphia, Pennsylvania, USA
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posted 26 September 2006 11:35 PM
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Well, if you ignore the cabinet drop and any "stretch" compensation, and shift the whole thing so the Es are straight up or 0 cents, then much of the Newman tuning is pure JI, which makes sense if Lloyd (or Newman, or whoever) set it up by ear. The major 3rds are around -14 cents, and the minor 3rds are around +16 cents, as they should be for JI. The roots and 5ths are all withing a few cents of straight up, except for the whole C# chord with the A and F combination, which is over 20 cents flat (but the intervals within the chord are close to JI, which makes it sound good except at the nut). The 6ths (C#) are -16 cents, as they should be. This also makes the same C#s work as the roots of C#m (the relative minor of E), because the Es (which are straight up) will be 16 cents above those -16 C# roots, as they should be as minor 3rds. I'm puzzled by the Ds, which as the 7b should be around +16 cents. All you have to do to get them right is tune them by ear as the minor 3rds of Bm, with the straight up Bs on strings 5 and 10 as the roots. At +16 cents the Ds will be good JI as the minor 3rds of that Bm, and also as the minor 7ths of the E chord. It's amazing how little conflict pure JI causes for the commonly used chords and scales of the E9 tuning. On the other hand, who knows how many odd changes were tried and rejected because they couldn't be tuned. |
Jack Stoner
Sysop From: Inverness, Florida
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posted 27 September 2006 03:15 AM
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b0b asked about two different F# settings. You can't have two different, only one setting for each note. I had to program (in a Strobe O Flip) one memory for most E9th, one memory for most C6th and then a third memory for extras, such as the E9th 4th string pull to F# which I tune differently than the open F#'s. |
Eric West
Member From: Portland, Oregon, USA
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posted 27 September 2006 06:10 AM
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Thanks Jim and of course my friend Mr D.There's indeed some confusion, but I don't believe it's mine.  EJL |
Howard Tate
Member From: Leesville, Louisiana, USA
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posted 27 September 2006 07:12 AM
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In one of the newsletters I got from Jeffran College in the early eighties, was Jeffs tuning chart with a disclaimer that there was nothing scientific about it. It was merely what sounded good to him and it was there to use or not use. As a new player it helped me immensely.------------------
Howard |
Chris LeDrew
Member From: Newfoundland, Canada
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posted 27 September 2006 07:41 AM
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With the Peterson, I actually spend very little time tuning now, whereas before I had to drag the steel to a quiet room (non-existent near a barroom) and tune the beats out, or stare at the meter on a small tuner mid-show, trying to guess what was going on if something sounded screwy. (Headphones are also useless in a loud room.) In the living room and the studio, I always tune by ear with the beats, after getting a reliable E. They're ideal tuning enviornments. But live? No one can contest the efficiency of the Peterson for quickness and accuracy. If this tuner was available in the 60s-70's, it would have been utilized. I'm a vintage and old school player all the way, but I don't get the argument in fighting this particular technological offering. It's simply easier, quicker and more accurate. [This message was edited by Chris LeDrew on 27 September 2006 at 07:43 AM.] |
David Doggett
Member From: Philadelphia, Pennsylvania, USA
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posted 27 September 2006 08:33 AM
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I agree with Chris. I think everyone should tune carefully by ear at home, and check to see what your preferred tuning looks like on a meter. It's an education in itself. You can then write out your own chart, or program it into a meter, to use when you can't hear. I would not want to be dependent only on my ears (sometimes you can't hear) or a meter (the batteries could go out, or you could misplace it).Also, offsets from straight up are not just for ear tuners and JI. Even if I wanted everything straight up ET, if I had cabinet drop greater than 4 cents, I would want to split that between the open E chord and the pedaled A chord. I would not want either of those positions to be off 5 cents or more at the nut. And on my uni, the low strings go sharp because of bar pressure, so at the nut I tune them flat. And in spite of all the stuff I write here about tuning, I don't obsess over it on gigs. Like most people, I tune the @%&* thing up the quickest way possible and play. And like most people I frequently have to play without everything tuned perfect, because you can't ask the world to stop while you tune 10 or 20 strings and dozens of stops. I just jump in these discussions because I find tuning a pedal steel an interesting problem, and it can be very confusing for novices.[This message was edited by David Doggett on 27 September 2006 at 08:37 AM.] |
Bobby Lee
Sysop From: Cloverdale, North California, USA
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posted 27 September 2006 08:42 AM
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I did misunderstand. Lloyd sent the following email: quote:
One morning sometime in the early 1980s Jeff called and asked if I could come out to his place for lunch and also bring my steel (it was the Sho-Bud). He said he had something important to discuss with me. He was a friend and I was curious and hungry enough to go.
Upon arrival he asked me to set my steel up, which I did. Now keep in mind he hadn't told me anything about what he had in mind and I was looking around for the food since I was bit hungry. After first giving me a 440 for reference Jeff then asked me to tune my steel until I was satisfied it was as close to what I considered "in tune" as I could get (actually I tune my top E to between 441 & 442, just slightly sharp to the 440. The rest is done strictly by ear and "feel").
After a minute or two I said, "Okay, it's in tune." He said, "Are you sure?''
I nodded my head. Then he said, "Give me a few minutes to check something." He told me he had computed what he considered the ideal tuning chart for E9th that could help standardize and simplify tuning but first wanted to hear my "ear" tuning for reference.
After a few minutes of dialing in each of my notes as to pitch and comparing them to his already computed pitch for each string, he was elated to find they were almost identical to mine which he thought sounded about as "in tune" as could be done by ear. He made a very few minimal corrections to his computational chart and as far as I know that became the Jeff Newman way to tune a pedal steel E9th. He figured most guys would need a helping hand since this thing is so difficult to tune, and his "new" chart would provide that very thing.
As for me, I was impressed that Jeff had arrived at a mechanical and mathematical means of tuning which mirrored very closely what I always relied on my brain to define. Of course playing in tune involves much more than simply tuning each string to the correspondingly correct pitch, but that's another equation entirely.
Besides, I was getting pretty damn hungry when about that time Fran appeared with a tray of food ample enough to tame us savage beasts.
Lloyd Green
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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
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Don Walters
Member From: Regina, SK, Canada
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posted 27 September 2006 09:00 AM
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quote:
playing in tune involves much more than simply tuning
Indeed!
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Gary Steele
Member From: Orient, Ohio, USA
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posted 27 September 2006 09:14 AM
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Hey guys, Buddy has a CD out about harmonic tuning. The other day i put this CD on and checked most of my open strings to it, My tuning at that time was the Newman temper tuning and it seemed like they was close to exact. Also i'v heard that Buddy in the past few years has tuned straight up 440. I'm wondering if this is true how he can tune by harmonics for a while and then play tuned to 440 all the way. BUTT i'v only heard he has done this, Don't know for sure. I have had several guys tell me this. Hopefully he will tell us what he thinks.
Thanks in advance Buddy.
Gary Steele. [This message was edited by Gary Steele on 27 September 2006 at 09:17 AM.] |
Kevin Hatton
Member From: Amherst, N.Y.
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posted 27 September 2006 09:58 AM
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Chris, I agree with you. I play loud environments most of the time. I tried the Peterson Strobe Flip up at Al Brisco's and was impressed. Its extremely accurate and stable. I use a Boss Tuner now but I'm considering buying the Peterson. The ability to silent tune on stage is a must for me. Playing in outdoor environments especialy. I think tuning by ear and taking the readings off the meter is where its at. Now we can start talking about compensators. |
David Doggett
Member From: Philadelphia, Pennsylvania, USA
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posted 27 September 2006 10:43 AM
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Uh-Oh. Eric, now which hero are you going to follow, Buddy or Lloyd? |
Larry Bell
Member From: Englewood, Florida
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posted 27 September 2006 10:57 AM
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. . . or a better question
Which of them actually plays out of tune?------------------
Larry Bell - email: larry@larrybell.org - gigs - Home Page
My CD's: 'I've Got Friends in COLD Places' - 'Pedal Steel Guitar'
2003 Fessenden S/D-12 8x8, 1969 Emmons S/D-12 6x6, 1984 Sho-Bud S/D-12 7x6, 1971 Dobro, Standel and Peavey Amps
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Scott Swartz
Member From: St. Louis, MO
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posted 27 September 2006 11:08 AM
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Even with zero cabinet drop, with JI there is a good reason to tune the Es sharp in my opinion.If you were to tune this mythical steel with zero cabinet drop so the E and B were at A440, and the G#s were 14 cents flat of A440, it will sound flat at the nut (as mentioned) but in addition to this you will end up playing sharp of every fret for pedals up also. I find it easier to be able to "aim" for hitting right over each fret. To my ear for JI if plaing an E-G# interval it sounds in tune against the band if the E is sharp and the G# is flat by about the same amount of cents, and I like that point to be right over the fret. With any amount of drop, you will have to go a bit sharp for pedals down, but this will happen automatically with a tiny bar movement (if you tune JI you are doing this, watch your left hand closely). So, if you do the inverse and tune so that pedals down with cabinet drop is right at the fret, then you're flat at the nut AND have to play sharp at every fret for pedals up. Also, if you tune JI you are probably playing closer to ET when playing single note runs via slight bar adjustments, I have checked myself and I know for a fact I do this, but here again its nice to have the fret marker be the same error in both the sharp and flat direction for notes relative to ET. |
Bobby Lee
Sysop From: Cloverdale, North California, USA
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posted 27 September 2006 11:26 AM
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I tune out of tune and play out of tune. If anyone wants to know how I do it, email me! ------------------
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
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Larry Bell
Member From: Englewood, Florida
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posted 27 September 2006 12:30 PM
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I have a friend who keeps his guitars SPOTLESS -- constantly shining and polishing.I went to see him at a gig years ago. He brought in his 20 year old push-pull that looked like it just came off the showroom floor. He set it up, polishing each item -- legs, pedal bar, neck, endplates -- as he assembled the guitar. Then he wiped off the strings and continued polishing. Some guy came up to him out of the crowd and asked "You PLAY that thing or just POLISH it?" ---
Sometimes I think we spend more time doing everything OTHER THAN PLAYING than we do with our fingers on the strings. ------------------
Larry Bell - email: larry@larrybell.org - gigs - Home Page
My CD's: 'I've Got Friends in COLD Places' - 'Pedal Steel Guitar'
2003 Fessenden S/D-12 8x8, 1969 Emmons S/D-12 6x6, 1984 Sho-Bud S/D-12 7x6, 1971 Dobro, Standel and Peavey Amps
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Jim Cohen
Member From: Philadelphia, PA
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posted 27 September 2006 12:38 PM
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They have Prozac for that. |
Topic Closed
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