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 Accorder sa PSG

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James Schmitt
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Date d'inscription : 04/07/2005

MessageSujet: Accorder sa PSG   Dim 16 Aoû - 17:43

Grilles d'accordages ( Tuning Chart ) pour E9 - C6 - & autres

Que vous ayez une psg vintage ou moderne, Je vous recommande plutot d'aller ici :
http://www.lozach.com/tuning.php
Merci a Jean Yves Lozach

Ce systéme est vraisemblablement révolutionnaire ( ! ) car il est spécifique a chaque psg a condition de connaitre la valeur du cabinet drop de celle çi :
"CABINET DROP" c'est le terme utilisé quand les tensions des pedales agissent s: le corps de la psg & qui altere l'accordage obtenu a vide

Rien ne vous empéche d'apprendre a accorder votre psg avec les harmoniques
cette méthode reste la meilleur pour s'accorder
(voir tableau plus bas)
principe de base accorder au 440 les E/Mi - B/Si - A/La - F#/Fa# - D
les tierces du E (G#) - du B (Eb) ainsi que les C# seront tjs inferieur a 440 : 425 - 430 -


http://lozach.com/pdf/accordage_harmoniques.pdf

http://www.lozach.com/pdf/accordage_de_la_PSG.pdf

sachez que les grilles des 2 liens suivants ont étés pondues y'a plus de 20 ans
depuis les psg modernes étant bien plus fiables & précises avec donc moins de "cabinet drop"

Grilles d'accordage Jeff Newman :

http://www.jeffran.com/tuning.php

vidéo de Jeff s: l'accordage :

http://video.google.co.uk/videoplay?docid=-4956963763809301054#

l'histoire : Merci a Tom Bradshaw & Jeff Newman :

http://bb.steelguitarforum.com/viewtopic.php?t=197268

Grille d'accordage Buddy Emmons :
Merci a lui

http://www.buddyemmons.com/TTChart.htm

les accordeurs sont ici :

Peterson " Strobo Plus HD " ( qui remplace le Strobo Flip )
http://www.petersontuners.com/index.cfm?category=197&scID=77

Peterson Strobo Flip !: n'est plus fabriqué
http://www.petersontuners.com/index.cfm?category=37&sub=21

Peterson Strobo Rack :
http://www.petersontuners.com/index.cfm?category=73&sub=66

Turbo Tuner :
http://www.turbo-tuner.com/




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ZumSteel D10 9/8 - Gibson EH 150 - Mesa Boogie Studio Preamp - Lexicon MPX1
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Dernière édition par James Schmitt le Jeu 24 Jan - 21:45, édité 20 fois
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James Schmitt
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MessageSujet: Re: Accorder sa PSG   Dim 16 Aoû - 17:44

Reçu de Jean Yves Lozach au sujet du programme d'accordage s: son site:

Au 6ème siècle av JC, le mathématicien grec Pythagore va définir notre système musical de 7 notes à partir de quintes successives, en une suite de rapports mathématiques.

Au XVIeme siècle,un musicien théoricien italien nommé Zarlino redéfinit la progression mathématique des intervalles pour obtenir la "gamme naturelle" ou "gamme des physiciens".
Cette gamme donne l’accord parfait entre la fondamentale, la tierce et la quinte.

Le problème est que dans ce système, comme celui de Pythagore
d’ailleurs, une mélodie ne peut être jouée parfaitement que dans une tonalité définie sur un instrument accordé dans cette tonalité.
Transposer dans une autre tonalité sur le même instrument implique des faussetés non supportables par l’oreille d’un honnête homme.

Pour palier à ce problème, Andréas Werckmeister (1604-1706) propose une ‘gamme tempérée’ à intervalles égaux qui permet la transposition dans toutes les tonalités avec une justesse (ou fausseté) supportable.
Jean-Sébastien Bach utilisera ce compromis avec son ‘Clavecin bien tempéré’.
Cette méthode est toujours utilisée pour le piano et beaucoup d'autres instruments où on ne fait pas la différence entre les notes dièsées et les notes bémolisées.

On peut considérer la pedal-steel comme un bon compromis : verticalement avec son open tuning basé sur des accords majeurs "justes" et horizontalement un système "tempérée" représenté par les frets du manche.
On peut donc transposer les accords justes dans toutes les tonalités le long du manche (et même entre les frets car nous verrons qu'il y a des corrections à apporter !).
On peut regarder l'open tuning de E9th chromatique avec son setup standard comme une superposition d'accords majeurs.
E, A, B, D, C#, F # et G.

Nous allons utiliser un accordeur électronique qui, en général, utilise le système tempéré avec pour référence visuelle l'échelle de la gamme de A graduée en cents autour du 440.
Quels sont les rapports entre les notes d'une gamme " juste " ou " naturelle " et celles de la gamme " tempérée " ?
Pour construire nos accords majeurs, nous n'avons besoin que des Ier, IIIème et Vème degré
(A, C# et E pour la gamme de A).

Zarlino nous dit que le IIIème degré = 5/4 du Iér degré.
Pour un accord de A majeur le Ier degré (A) = 440Hz
le IIIème degré (C#) = 440 x 5/4 = 550Hz. La gamme tempérée nous donne le C# = 554,4Hz.
Le IIIème degré " naturel " est donc 4,4Hz plus bas que le IIIème degré " tempéré ".
Un " cent " , centième de demi ton est egal à 0,3036Hz pour notre gamme de A.
Notre écart de 4,4Hz correspond donc à 14,49275... cents.

L'écart entre le Vème degré " naturel " et " tempéré " est négligeable.
On peut donc construire notre accord majeur "juste" à partir des Ier degré 440, IIIème degré 440-14,5 et Vème degré 440.
Mettons ce principe en application sur la pedal steel (sans tenir compte de l'idée de cabinet drop).
E maj : E (I) = 0 - G# (III) = -14,5 - B (V) = 0
A maj : A (I) = 0 - C# (III) = -14,5 - E (V) = 0
B maj : B (I) = 0 - D# (III) = -14,5 - F# (V) = 0
C# maj : C# (I) = -14,5 - F (III) = -29 - G# (V) = -14,5
D maj : D (I) = 0 - F# (III) = -14,5 (incompatible avec B maj !!!) - A (5) = 0
G maj : G (I) = 0 - B (III) = -14,5 - D (V) = 0
Nous savions par construction que les gammes " naturelles " peuvent avoir des notes communes avec des fréquences différentes.

Nous en avons la confirmation avec le F# qui peut être Vème degré de B ou IIIème degré de D avec un écart de 14,5 cents.

L'accord de C# est bas de 14,5 cents, il faudra dans cette position (pédale A + levier F) compenser en jouant plus haut que la fret.

Notre système musical comprend des imperfections,
quelque soit le système d' accordage de la pedal steel, il comportera des
imperfections.
A vous de choisir les bons compromis.

Notez bien que ce système ne tient pas compte du cabinet drop.
J'ai considéré que la déformation peut être représentative lorsque les pédales A et B sont appuyées.
Donc en comparant la 4ème corde (qui n'est pas affectée par l'action de A et B) avec les pédales appuyées puis relâchées, on peut utiliser cette différence comme étant la déformation de référence
(avec l'erreur possible qu'il y ait d'autres leviers appuyés).
Si on veut que les notes A, E, C# ... soient "justes" avec les pédales appuyées ils faut donc que les cordes "open" soient augmentées de la valeur du cabinet drop.

Ce programme met en application ce système qui a le mérite d'obéir à une certaine logique et d'expliquer pourquoi il y a des imperfections.

Personnellement je n'utilise l'accordeur étalonné à 442 que pour accorder le A (3ème corde).
Pour le reste j'utilise les harmoniques pour accorder les cordes les unes par rapports aux autres en fonction des accords E, A, B etc ...
ce qui revient à appliquer exactement le même principe


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Dernière édition par James Schmitt le Mar 14 Juin - 16:38, édité 1 fois
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Lionel Duhaupas

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MessageSujet: Re: Accorder sa PSG   Jeu 27 Aoû - 11:19

--------------------------------------------------------------------------------

bon voilà comment je fais avec ma steel pour l'accorder en harmonique,il suffit de noter les reférences et c'est bon.
Je ne detiens pas la vérité mais pour moi ça marche sans problème et ça rejoint le systeme de Jean-Yves.

Pour les pédales AB et c'est standard,pour les genouillères:
D descend la 2° corde en D puis en C#
E descend les cordes 4 et 8 en Eb
F monte les cordes 4 et 8 en F
G monte les cordes 7 en G et 1 en G# et aussi la 2° corde en E
Les harmoniques suivent le cabinet drop.
Je ne fait pas ça pour vous apprendre quelque chose mais ça peut aider certains.
Il suffit de noter ses propres repères qu'affiche l'accordeur et après plus besoin de son pour s'accorder.
Bon j'espère que ce n'est pas compliqué et surtout j'espère ne pas avoir commis d'erreurs cette fois çi.



Voilà comment j'accorde ma steel en C6th,c'est celui de Bobby Lee que j'ai trouvé sur le web et il me convient très bien.Si je vous écris ce post c'est pour avoir vos suggestions à ce sujet et connaître aussi votre accordage sur le C6th,car j'en ai éssayé plusieurs mais qui ne me convenais pas.Il y a seulement deux genouillères ce qui est relativement standard.Sur le tableau je les ai notées:LK C----B et LK C----C# car leurs emplacements changent suivant votre config.
A vos accordeurs prêt........partez.

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Christian Ayrinhac

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MessageSujet: Re: Accorder sa PSG   Jeu 27 Aoû - 14:23

merci Yoyo,impec.avec ça on doit pouvoir s'en tirer.
je précise juste un petit truc: J.Y.L souligne que l'harmonique case 4 est aussi obtenue case 9 sur une même corde.Personnellement je la trouve plus facile case 9.
christian

edité :
le post ouvert au sujet de l'accordage avec vos remarques & suggestions est ici :

http://steelguitarfrance.forumactif.com/pedal-steel-guitar-f6/accordage-de-votre-psg-t2285.htm?sid=cba5ee7b7e6a1f9f4e2d5a504b6e1aad
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James Schmitt
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MessageSujet: Re: Accorder sa PSG   Dim 1 Nov - 15:21

une autre grille d'accordage C6 qui peut etre utile ?

(perso je m'accorde avec les harmoniques aprés avoir calibré mon cabinet drop via le system a Jean Yves - au fur a mesure je rentre les valeurs harmoniques dfans mon accordeur peterson)



ainsi que cette contribution de Larry Bell

http://www.larrybell.org/id32.htm

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Dernière édition par James Schmitt le Lun 5 Juil - 14:27, édité 1 fois
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James Schmitt
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MessageSujet: Re: Accorder sa PSG   Dim 4 Juil - 9:30

Pour ceux n'ayant pas trouver leur bonheur d'accordage E9 çi dessus, essayez ce programme :
(un nouveau en anglais bien sure....)

http://pedalsteeltuning.com/

ceci de Sid Hudson afin de sauvegarder l'accordage E9 & C6 s; le Strobo Flip
note : certaines valeures demanderont d'etre ajustées en fonction de la steel


How to program your Peterson “Strobo Flip” tuner to E9th Emmons settings.

The 1st button on Your strobo flip is the “off” button
The 2nd button is “On”
The 3rd button is “TMPR/Program” button
The 7th button is the “SAVE” button.
The two (large) buttons are the Up and Down Arrow keys.

Familiarize yourself with the location of these buttons before proceeding.

1. Make sure the tuner is off.
2. Press and hold down the “TMPR/Program” button and then press the “On” button
3. Release both.

Now you are in the program mode.

1. Press the “TMPR/Program” button and the letter “C” will pop up on the screen.
2. In the right/lower corner of the screen you will see +00.0 this is correct. Do not change
3. Press the “TMPR/Program” button again. Now you see C# on the screen.
4. By using the up/down arrow keys set C# to -16.7
5. Press “TMPR/Program” button and now you will see “D”-------set to -07.6

6. Press “TMPR/Program” to go to D#-----set to -09.7
7. Press “TMPR/Program” to go to E-------set to 00.0
8. Press “TMPR/Program” to go to F-------set to -27.8
9. Press “TMPR/Program” to go to F#------set to +02.5
10. Press “TMPR/Program” to go to G-------set to -03.7
11. Press “TMPR/Program” to go to G#-----set to -12.2
12. Press “TMPR/Program” to go to A-------set to -06.4
13. Press “TMPR/Program” to go to A#-----set to 00.0
14. Press “TMPR/Program” to go to B-------set to +01.3
15. Press “TMPR/Program” to go to E-------set to 00.0

16. Press “TMPR/Program” and now you are being asked if you want to SAVE?
17. Press the “SAVE” button (THE LAST BUTTON ON THE STROBO FLIP)

Cut the “Strobo Flip off. Remember! Your personal setting are stored in (S 1).

To Use:
1. Press the On button
2. Press “TMPR/Program” button
3. Use the “Lower arrow Button” and scroll down to (S 1)
4. These offsets are for the E9th neck ONLY
----------------------------------------------------------------------------------------------------------------------------

The offsets for the C 6th Neck
They need to be programmed into a separate “user bank”.
I used (S 2) for the C6th Neck.

1. Make sure the tuner is off.
2. Press and hold down the “TMPR/Program” button and then press the “On” button
3. Release both.

The little arrow on the screen is pointing at (S 1).

4. Press the (UP) (“Big arrow button”) and now the little arrow on the screen will be pointing at (S 2).

5. Press “TMPR/Program” to go to C and set to----- +08.2
6. Press “TMPR/Program” to go to C# set to---------- -01.5
7. Press “TMPR/Program” to go to D set to ------------ +13.8
8. Press “TMPR/Program” to go to D# set to ------- +06.6
9. Press “TMPR/Program” to go to E set to ---------- -03.2
10. Press “TMPR/Program” to go to F set to------------ +03.4
11. Press “TMPR/Program” to go to F# set to ----------- -15.1
12. Press “TMPR/Program” to go to G set to ------------ +12.2
13. Press “TMPR/Program” to go to G# set to ----------- -18.3
14. Press “TMPR/Program” to go to A set to -------------- -06.0
15. Press “TMPR/Program” to go to A# set to ----------- +03.6
16. Press “TMPR/Program” to go to B set to ------------- -03.8
17. Press “TMPR/Program” to go E (it is already set to -03.2)
18. Press “TMPR/Program” HIT SAVE, and turn Turner off.

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ZumSteel D10 9/8 - Gibson EH 150 - Mesa Boogie Studio Preamp - Lexicon MPX1
PV Telonics  - Peavey Nashville 1000 - BJS steel bar - Jagwire strings -


Dernière édition par James Schmitt le Jeu 21 Fév - 11:17, édité 1 fois
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James Schmitt
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MessageSujet: Re: Accorder sa PSG   Lun 20 Déc - 9:24

Témoignage en english, des débuts de l'accordage psg par Tom Bradshaw & Jeff Newman :

http://bb.steelguitarforum.com/viewtopic.php?t=197268

" Would you know the evolution of Newman’s tempered tuning, when he first tuned the E’s to 440, then later revised his chart to tune the E’s to 442?”

It just so happened that I did know some of that history, but wouldn’t want anyone to think I knew everything about it.
With a much larger audience on the Forum, I decided to elaborate on the subject, getting more into the Equal Temperament vs. Just Tuning aspects as it related to Jeff’s and my activities of many years ago.

Background:
The Korg WT-10A Tuner:
Away back in the ‘70s or early ‘80s I began stocking and selling Korg’s earliest chromatic tuner, the WT-10A.
Someone turned me on to it and said it was a Godsend to steelers who had to tune so many strings, then tune the pitches needed for employing pedals and knee levers.
The Korg tuner was supposed to make it a fast work.

So when I got that tuner in my hands, I knew I had to learn how to use it.
I spent a lot of time playing with it. I did what I suspect everyone did when they got theirs.
I tuned every open string on my guitar to its assigned pitch, then each pitch for every pedal/knee lever change.
All were tuned to the zero mark (440), using the VU meter.
Wow, what a disaster. The guitar sounded awful.

At first I thought the tuner was defective. I put it aside, then re-tuned my steel in the traditional manner: by ear.

Once the steel was back in tune and I was happy with it, I wondered just how “defective” the tuner really was. I compared the readings of my now in-tune strings with what the tuner revealed them to be, and was amazed at how far the needle on the VU meter deviated from the 440 for most every pitch I needed to tune to.
I set the tuner aside and took the attitude, “To hell with that thing.”

Fortunately, I thought about the tuner a bit more. I concluded that the tuner didn’t have to be a total loss
if I could achieve a good in-tune sound by simply writing down how much the VU needle deviated from the 440 mark for each of those pitch-settings I’d established for my “good” sound.
I did that and made a chart. Also somewhere in the mix of it all, I began researching the “Just” tuning (also called Just Intonation).
I was a “red-hot” back in those days and now remember that I even went to the library (the Internet wasn’t even a word then) and found information about the Just Intonation scale.
I began to understand that I was tuning my steel to the Just Intonation scale.
I learned that even Bach had published something about it
That was when I changed my mind about the tuner’s value.
The result was my authoring of a steel player’s “Owner’s Manual” for that tuner.
Once written and printed, I supplied one with every Korg tuner I sold. I explained how users of the tuner should make up a tuning chart for their steels.
I even provided one as a guide to show how the tuning chart should look and be used.
I quickly became the biggest single seller of Korg tuners in the world. Korg told me that when one of their salesmen came to my house to learn why I was ordering so many of them!
Boy, did that inflate my ego.

Now, To Jeff and His Charts. Jeff and I were the best of friends and talked by phone often. As many know, I hosted a number of his seminars. Jeff’s wife, Fran, and my wife just loved one another, but loved going shopping even more.
They got rid of us by doing so, permitting Jeff and me to talk steel continuously,
When Jeff began publishing his “Pedal Rod” Newsletter, he also printed his recommended tuning chart.
As time passed he changed his original recommended string-pitch settings, doing so several times. Eventually he even explained why he chose to recommend tuning his E-strings to 442 Hertz.
Jeff did provide an explanation of his 442-Hertz change, but I can’t recall when he did so.

Challenging Jeff:
I began to ponder why Jeff kept changing his tuning chart recommendations.
I finally figured it out. Jeff was frequently given (or was loaned) a new pedal steel from a manufacturer.
I suspected that he would use his original chart to tune each new guitar, only to discover that his established numbers didn’t work for it.

When that thought hit me, I viewed myself as a brilliant tactician (yes I suffer from ideas of grandeur). I immediately called him and explained my theory that a different guitar required a different chart in order to sound in tune.
He paused for a moment then told me he believed I was right, and that he had thought his hearing was changing because of the aging process (I knew he was kidding, but who wouldn’t blame it on something?). I explained that every guitar was different and that players should make up their own chart for each and every brand of steel they owned.
Jeff said he would tell his students that. I don’t know if he ever did.
But let’s end that discussion and get back to the 440 vs. 442 matter:

Even though Jeff didn’t tell me this, here is what I believe (because it worked for me!). Even if Jeff got his guitar in tune, he would discover that it still wasn’t quite right when playing with a band. His guitar was still flat of their basic pitch. I believe Jeff went to a 442 Hertz level as the base point for his E strings because of the “problem” of detuning, i.e. cabinet drop. Nearly every pedal steel made at that time (and even many to this day) has cabinet drop and/or de-tunes in their individual ways. Notice that I put the word, ‘problem’, in quotes. Not all de-tuning, or cabinet drop, is a problem. But that is a subject for another time!

As I said, I felt that Jeff wasn’t in tune with the band because his guitar was still "flat" of the band’s overall pitch. I suspect that Jeff calculated the average amount of detuning (caused by cabinet drop) for his pedal steel and settled on it being 2 Hertz (8 cents). Why do I suspect this? Because I did some experimenting back then with a number of guitars myself. I came up with the 2-Hertz average detuning myself. So, I felt Jeff had discovered the same thing I did. My procedure was simple: I depressed the A & B pedals (on an E9th tuning), and watched the needle on the tuner’s VU meter move below the 440 mark. It seemed to most often settle at 438. If I re-tuned the E strings back to 440 while holding those pedals down, when I let off the pedals, the typical rise in the VU meter’s needle would bring it back to 442. I then suspected that Jeff would tune the rest of the strings (while still holding those two pedals down) to be in tune with the 442 pitch. I know I should have phoned him, but I didn’t think it was worth a call at that time. Stupid me! But to continue:

I felt Jeff compensated for an in-tune sound by tuning all the other strings and knee levers changes to be as close to “the good sound” (the Just scale) as possible, when not employing the pedals. For him, it depended on how those knee levers were used in the context of the band’s overall pitch. His compensation, regarding the knee levers, could be referred to as “tempering” those changes, while the rest of his tuning process would be in line with his wanting a “Just” tuning. Once Jeff was done, he would note the variations he got from the 440 mark on his tuner and then would prepare his chart. He shared his chart(s) with his students either at his seminars or via his Pedal Rod newsletter. I suspect that he never published the procedure by which he arrived at those numbers, but I could be wrong. I also believe that if every steel player in the world had learned his procedure away back then, they would now be tuning up quickly

Tuning Made Simple: Take the time to tune your own guitar by “ear” to be as close as you can to getting an “in tune” sound for your ears. When satisfied, make a chart of your findings and use it to quickly tune your steel. Thereafter, you should be happy by re-tuning it to your chart, even being able to do so without hearing any sounds from your guitar. And also, because most tuners have a lighted VU meter, you can do it in the dark.

If you have to tune to a band or another instrument (and those players don’t want to re-tune to your guitar), determine what their pitch level is and, using your tuner’s meter adjustment, re-tune your guitar by still using your chart. You’re then ready to rock.

A Reality: It is very important for you to “believe” that you’re playing in tune.
Let’s face it, once any steel player begins playing, he can only be happy playing if HE believes his sound is an in-tune sound.
And, we all compensate for the nuances of our great instrument by moving the bar above or below the fret lines to achieve what we hear as an in-tune sound.
Whether we are playing in tune is the opinion of those who listen to us, particularly our band mates. But who gives a rats about them. We are who counts, right?

Be aware however, that if another steel player sits behind and plays your steel, or you play theirs, you both will believe that the others’ guitar is out of tune and will proceed to tweak the tuning.
I’ve seen this happen time and time again. It proves that everyone hears differently.

Jeff and My Comeuppance’s:
Once on a visit, Jeff admonished me about something I had written that he disagreed with. As I recall, he was right, so I agreed to cease printing such nonsense or agreed to publish a retraction; I can’t remember now.
However, I took that unrelated opportunity to then admonish him for telling everyone to “temper-tune” their guitars
(which implied that they were to tune to the Equal Temperament tuning).
I explained to him that steel players want the so-called “good” sound, and do so by trying to tune their guitars to a “Just” tuning scale, not an Equal Temperament scale
And incidentally, I define the Just Tuning scale as the one with all the notes and chords blending nicely, and all of those annoying “beats” between harmonizing notes are eliminated.
After arguing for a time, I finally convinced Jeff that he, and nearly all other steel players, was actually trying to tune their guitars to a JUST intonation tuning, but didn’t realize what they were doing.
[Note: If you think you can live with your guitar being tuned to an Equal Temperament scale, tune each note on it to a piano and see how happy you are with the sound. I predict that you will quickly decide that you can’t live with it sounding that far out of tune!]
I later felt good when I heard Jeff tell his students at a seminar, “The Just Tuning method is how most players tune their steels.” However, I don’t know if he ever wrote about it in any publication.

Some Concluding Thoughts and A Summation:
I suspect that when we use the word “temper” with “tuning”, we are using it in accordance with a few of its dictionary definitions.
Such definitions imply that we are “adjusting” or “altering” a tone pitch to be more in line with what sounds good to our idea of beautiful harmony. Unfortunately, that conflicts with the more prevalent assumption that we are employing the Equal Temperament tuning procedure.
What we are actually doing is trying to get our guitar to sound its best.
That sound is the Just-Tuned sound, getting as many strings tuned to the Just Intonation and blending beautifully.

When you say you “Temper Tune”; you are likely tuning every string on your guitar to 440 Hertz with a tuner.
With a few exceptions, a piano is "temper tuned", meaning that all its strings are tuned to align themselves to the “440” position on a tuner’s VU meter, a scale with the Hertz levels evenly divided within an octave.
For your guitar, the instant that you decide to tune a string flat or sharp of a tuner’s 440 reading, you are moving toward tuning it to a Just Scale and you are “Just Tuning”.

I might add that there are some electronic instruments that I've heard of that have the Just Tuning built into it, like some electric pianos. But I know of no fix-tuned instruments that are able to fully accomplish it. That is another reason that the pedal steel is unique in the tuning world.

Other Sources: There are many Internet sites that describe the Tempered and Just Tuning methods. Here’s a couple:
http://en.wikipedia.org/wiki/Just_intonation
http://en.wikipedia.org/wiki/Equal_temperament
As related, my investigation of the Just Tuning led me to learn about Johan Sebastian Bach’s work and compositions called “The Well Tempered Clavier”. Some of that history can now be accessed at: http://en.wikipedia.org/wiki/The_Well-Tempered_Clavier#Intended_tuning

There is a YouTube video of Jeff demonstrating his Just Tuning approach on a Korg AT-12 tuner :

http://video.google.co.uk/videoplay?docid=-4956963763809301054#

Lastly, there are many other Internet sites that claim to explain the process of Tempered Tuning of instruments. But while they say they are “tempering” a chord or tuning, what they are really trying to do is achieve the “Just Tuning” sound from their instruments, the sound that is most pleasant to our ears.

If anything I’ve supplied here is not clear or you take exception to what I’ve said regarding the history of Jeff’s tuning charts, please feel free to disagree and scream bloody murder. Then, present your own opinion or knowledge on the subject. And while you’re at it, have a “cool” one on Jeff and me, out of any glass that’s handy. …Tom

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James Schmitt
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Date d'inscription : 04/07/2005

MessageSujet: Re: Accorder sa PSG   Mar 4 Oct - 17:24

Pour programmer les notes/valeures dans 1 ¨Peterson StroboFlip
(en english)

https://skydrive.live.com/?cid=594320d13092d8fb#!/view.aspx?cid=594320D13092D8FB&resid=594320D13092D8FB!951

StroboFlip ici :

Programming your own tempers

Turn on the unit holding down both the ON & TMPR/SWT buttons

Now select the P1, P2 etc. program location you want

Then press the TMPR/SWT button again. C will be the 1st note you see

To progress to the next note press the TMPR/SWT button

Again use the up/down buttons to enter the desired offset amounts for each note

When you have entered all your offset #’s press the save button

Then press it again to confirm your settings

le Peterson StroboRack ici :
The StroboRack doesn't automatically show the cent readout because at an accuracy of 0.1 cent, all you would see would be rapidly scrolling numbers. The way to get a truly accurate reading of how far off any particular string is to:
a. Play the string
b. Press the Cent button on the StroboRack and turn the rotary dial until the strobe image is immobile, you can press the top of the rotary dial briefly to fine tune to 0.1 cent increments.
The cent value will be displayed on the tuner screen.

To zero the cent value at any time, just press and hold the cursor wheel and the value will return to 00.0 cents.

2) then i need help understanding how to memorize my settings so that i have them in the unit.

1.Press the Menu button
2.Using the rotary dial, highlight "PROG SWT" (Program a Sweetener)
3.Press the top of the rotary dial, and rotate it until its pointing at an available user preset (if you've never programmed a Sweetener before, this will be S-1)
4.Press the top of the rotary dial once more and the note "C" will appear, enter a cent value by turning the rotary dial clock-wise for + cents or counter-clockwise for - cents.
5.Press the top of the rotary dial to advance to the next note of the chromatic scale, ignore notes that you don't need by pressing the top of the rotary dial to advance to the next note.
6.Repeat until all your desired cent values have been entered for the relevant notes, remembering that there are 13 programmable notes (there is a second E at the end of the sequence of notes)
7.The word "SAVE?" will appear when the last note has been programmed, press the save button to confirm.

You have now programmed your settings into the tuner.

To recall the Sweetener, press the Sweetener button and use the rotary dial to scroll to S-1 (/your selected user patch).
To add it as a preset for extra quick recall, press the save button and you will be prompted to
1. Delete it
2. Quit
3.Use it to replace an existing preset
4.Add it to your existing presets in sequence

Use the rotary dial to make your choice and press the save button to confirm and save.

_________________
http://steelguitarfrance.com
http://pedalsteelguitarfrance.com
http://www.youtube.com/user/SteelGuitarFrance?


ZumSteel D10 9/8 - Gibson EH 150 - Mesa Boogie Studio Preamp - Lexicon MPX1
PV Telonics  - Peavey Nashville 1000 - BJS steel bar - Jagwire strings -
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