John, Ed, LIst, I should add for benefit and understanding of others, that Ed's approach, I am certain produces the best results overall. I, however, do not have the ability, nor fortitude to approximate at some things unless absolutely necessary. The match making tuning process I described eliminated guessing on the instrument I own. In the majority of situations with other guitars, I wouldn't even bother to attempt my method of madness, knowing full well it could never be achieved with the physical discrepancies that exist in so many guitars without modifications, and even then, the majority of any modifications made would never allow that tuning process I have described. Sincerely, Keith On Feb 1, 2011, at 12:57 AM, Mr. Mac's wrote: > On Jan 31, 2011, at 10:48 PM, <johnparham at piano88.com> <johnparham at piano88.com> wrote: >> … A guitar with a lower action, straight frets, a straight neck, and frets >> that are not worn will tune up true. … > > and > > On Jan 31, 2011, at 9:56 AM, Ed Foote wrote: >> … When I see a guitarist using the harmonics to tune, they always get the fourths either pure, though, at times, a narrow one will get in there. The result is that the G-E sixth(formed by making the E octave), is too wide to allow the B to make an acceptable third and fourth at the same time. … > > John, Ed, > > I have an acoustic guitar that meets John's physical description, > but does not necessarily tune up true using the > conventional known tuning methods. > > You guys know the drill: > The beginning basic low E, fifth fret to tune A, etc. process. > The harmonics process Ed mentions > And one or two others, but I have no name for them, > and still, it seems I have always had to fiddle some more after the fact, > to please my sense of hearing when playing various chords. > > Over the years I continued to try and come up with a method > for tuning this guitar I own, and finally arrived > at something that really seems to bring everything > into focus when in standard tuning, all up and down the neck. > > Somehow I attribute what I describe below to the process > of how intonation is done on solid body electric guitars. > I am fairly certain this method will bring very poor results on any guitar > that doesn't match the description John mentions above. > > I play the D string and match it to a depressed B string, 15th fret. > Then I play the B string and match it to depressed A string, 14th fret. > Then I play the A string and match it to depressed G string, 14th fret. > Then I play the G string and match it to the two E strings, both being depressed at the 15th fret. > Then compare those two Es' to a depressed D string, 14th fret. > > I do this round robin process 'til everything settles into place. > > Sincerely, > > Keith McGavern, RPT > pianostuff.kamcam.com >
This PTG archive page provided courtesy of Moy Piano Service, LLC