>This 14-country operation demonstrates the extraordinary cooperation with our international partners
The way they are treating their "international partners" would make this kind of cooperation very dificult on the future, and given that any dismantled site will give origin to new ones to fill the void, seems to me that it does more harm than good. A known evil is easier to dodge than an unknown one.
Actually is not a guitar problem, but all 12-TET tuned instruments have this, it is just a side effect of harmonic math. In the guitar case it is not only the tuning that counts, also the material the string are made and the diameter of the strings count to the final frequency, and we are using parallel frets so applying the same distance to different strings. There are guitars with not parallel frets that try to compensate for the diameter variation. But that’s all math and understanding, cause when you tune your guitar and just play you are in another world were "thought is the killer of flow"; so just play and enjoy the sound. :D
There are two type of “not parallel” frets and neither have anything to do with the diameter of the strings.
Different guitarists use different diameter strings because the diameter determines the tension when you tune to pitch. Different people prefer different tension. Most shredders prefer light tension. Most jazz players prefer high tension.
The diameter is compensated at the bridge and in some guitars the nut. When you press a thin string to a fret, the center of the string is closer to the fret than when a thick string is pushed to the fret. Thicker strings compensate for this by using slightly longer length which you can adjust at the bridge.
One type of non parallel frets are called true temperament frets. They are sort of parallel but squiggly. This results in better intonation closer to that of a piano.
Another type of non parallel frets is multi scale or fanned frets. This allows the bass strings to have a longer scale length, which allows you to use relatively thinner strings for bass notes. This is important because when strings get thicker relative to their length, they start to behave more like cylinders with thickness rather than ideal springs, and sound rather nasty because harmonic overtones are out of tune with the fundamental.
Another victim of True Temperament fret marketing - no, it's not closer to a piano (12TET). It's actually further off for some scales. They use "Thidell Formula One temperament" and it's why they recommend a programmable tuner that can handle it, see https://support.strandbergguitars.com/article/257-how-to-tun...
So, it will be closer to JI for some scales, further for others.
If you really care, imho, you should just get either a fretless or a scalloped and learn to hear it and adjust yourself.
Also, guitars go out of tune constantly unless they have something like an Evertune. Additionally, without VERY good fretting technique (no pressing too hard or slight, accidental bending) the True Temperament frets won't matter that much anyway.
Instead, they do make it particularly awful to use any non-standard tunings.
I have a lot of weird guitars (Fretless, scalloped, MIDI guitars, even a 7-string with a septaphonic pickup so I can get a different out from each string!) but didn't get TT because if you actually read and figure out it's not closer to 12TET, which it seems their marketing implies, it feels sorta scammy.
I wasn’t endorsing them, I was just saying they exist.
I wasn’t really aware of these differences, I don’t know much about TT and haven’t really read any of their marketing. I was just going from the idea that each fretted note has a compensated scale length, so each note is intonated individually, like a piano.
I couldn’t find a good source that explains the differences. Can you point me in the right direction or give a quick summary?
I believe on a piano each key is intonated to sound about the same as any other key, but I know that in the studio and for some concerts, pianos can be tuned to sweeten whatever keys are going to be featured.
There’s nothing stopping the TT company from redesigning the frets to match the intonation of a piano, right? It’s a choice to sweeten some keys, and obviously you can’t sweeten one without souring another.
Hopefully it’s obvious to anyone buying it that TT is designed for standard tuning. If you’re buying one of these you probably have multiple guitars so it’s not really a big deal that this one is limited to standard. I have several guitars and rarely change tunings on them, unless maybe going to drop D on a hard tail sometimes.
The technique problem isn’t huge: good guitarists don’t regularly death grip their notes or strike the strings too hard unless they’re doing it intentionally. Also neither is the tuning stability problem. In the studio you’ll retune as needed. Not many people play these on stage because if you’re the only one with TT in a rock band context you’ll sound off compared to everyone else.
I don’t really care either way, because my technique is horrible and I suck. Also imperfect intonation doesn’t really bother me, I barely notice it.
I don't know that's it's obvious standard would matter, if it was actually 12TET, I would expect shifting up/down to be fine. And, really, it should still be, and I think would give you different just intonated keys if you do, and you shouldn't even need to re-intonate since you didn't move the octave. I think it's just that they don't tell you the offsets you need easily if you do this.
I don't think TT can get much closer to 12TET than a normal, well intonated guitar, even if they explicitly went for 12TET. I'm not certain, but my intuition is that given the placement of the octave (12th fret) is literally the halfway point and you can already adjust intonation, beyond that equal temperament should just be placing the frets on a log scale inbetween, which should look normal - no squiggle required.
IIRC, On a piano, the complexity of intonation is because you don't have harmonics so much as partials - the way they work, you don't get perfect harmonics, a string with a 100Hz fundamental won't necessarily have harmonics at 200Hz, 300Hz, etc. it 'll be peaks at different multiplies, and IIRC not spaced consistently even between partials. This makes it so you may want to tune so the partials are pleasant sounding even if it makes the fundamental off a bit. Mostly reciting things from https://www.youtube.com/watch?v=MoKVuo-87l8 from memory here, you might give it a watch.
Tuning can be a problem even in the studio if your guitar is a pain to tune. I have a 7 string floyd that legitimately takes about half an hour to get right every time, but the stability is great such that (assuming little temp variance) it'll stay in tune for months.
As for sucking, sucking is the first step to not sucking. Also, if you though enough ambient and distortion pedals at it, even suck can sound ethereal ;)
I think you might have it the other way around. The 7th harmonic is the real 7th harmonic, but the 7th note above the harmonic is tuned to equal temperament.
Yes, the diameter is compensated at the same time as the tension.
When the string's action is higher above the frets, the tension increases more when fretted than open, to a greater degree than low action.
So the saddle for that string needs to be positioned such that the plucked portion of the string is slightly longer than it would need to be if the tension were the same as the open string.
Another thing that’s not been mentioned here: there is a relationship between volume and pitch. In short, you strike a string hard and it goes a bit sharp. The issue is that the tonal math makes a linearization of the string physics, but the highly activated string is effectively a little tighter than the idealized version.
Humans are also not perfect at fretting with the exact same pressure every time, or without inducing some bend in the strings. This is really noticeable with the G string which always sounds out of tune while playing, because our tuning system gives it a half-step-down intonation as a trade-off to make it easier to form chords.
James Taylor compensates by tuning everything down a few cents, between -12 at the low E and -3 at the high E, with a little break in the pattern with -4 cents at the G to deal with its weirdness. Good electronic tuners have "sweetened" presets which do something similar.
Peterson guitar tuners can do custom tunings, and have the James Taylor tuning built in as a preset. (On Peterson tuners, it's called the 'acoustic' preset, but is actually the JT tuning.)
The Z80 itself was "inspired" by the 8080, notably having dual 8080 register sets. It might be regarded as a "clear" (sic) room reimplemention/enhancement of the 8080 given that it was the same 8080 designers who left Intel to found Zilog and create the Z80.
You can play with both hands on a Chapman stick, right hand can do the bass, the left the melody/chords or vice-versa (Chapman stick is played tapping the strings with both hands)
>criss-crossing in front of you towards the left side of your board.
No need to criss-cross the cable in front of you, you can connect the cable to the guitar on the right side and the cable will go behind you and emerge on the left side, into the pedal board/fx processor.
Well,i remember a performance of Jorge Lima Barreto (Portuguese electronic/free jazz) playing with a saxophonist with 2 microphones, one normal and the other with a brutal delay. He would play on the normal microphone and sometimes he directed the instrument output to the delayed microphone and it sounded monumental. Not sure what musician he was, i think is Tomas Stanko, but not sure. The performance sounded like you went through a big storm. :D
The way they are treating their "international partners" would make this kind of cooperation very dificult on the future, and given that any dismantled site will give origin to new ones to fill the void, seems to me that it does more harm than good. A known evil is easier to dodge than an unknown one.
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