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Post by Johnkenn on Feb 15, 2020 19:21:28 GMT -6
Think I’ve posted that before...but if you google James Taylor tuning you can find it. Thought this comparison was interesting.
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Post by swafford on Feb 16, 2020 14:05:53 GMT -6
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Post by M57 on Feb 16, 2020 18:03:13 GMT -6
Didn't like the Taylor tuning about 75% of time. But for me it begs the question, how do JT's tunes sound using the standard non-JT tuning?
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Post by geoff738 on Feb 16, 2020 19:41:27 GMT -6
Another approach. linkypoo
Works pretty well but I usually do the bottom four strings with fifth fret and harmonics and do the b and high e by ear using the Pete Townshend A with the 5th fret on the b and high e. Cheers, Geoff |
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Post by Johnkenn on Feb 17, 2020 11:56:53 GMT -6
My question would be how the Taylor tuning would sound with a full production. I would think it would really rub.
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Post by swafford on Feb 18, 2020 5:46:01 GMT -6
My question would be how the Taylor tuning would sound with a full production. I would think it would really rub. I don't hear a problem with it. I can post up a sample if you want to gauge yourself, I'm currently working on a song with brushed drums, acoustic bass, piano (Yamaha P155) and fingerpicked guitar capoed and tuned at the 5th fret using the Peterson ACU. |
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Post by Bob Olhsson on Feb 18, 2020 10:18:49 GMT -6
I think this is total nonsense because it is way oversimplified.
Yes, great guitar players optimize tuning for what they are playing but exactly what is required depends entirely on the specific guitar, strings, capo, bridge and fret setup. That's why it's always done by ear with 'lectric-tunas only used to match a common note with the ensemble. Those who can afford it have a separate guitar that is set up for each tuning they want to use including with a capo. This makes a staggering improvement in a recording. I first learned about this at Wally Heider's in 1972.
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Post by swafford on Feb 18, 2020 11:56:46 GMT -6
Here's what I know:
1. I don't have relative pitch, I can not tune a guitar by ear.
2. When my guitar is out of tune, it doesn't bother me.
3. My bass player has perfect pitch
4. My violin player, like most classically trained musicians, has excellent relative pitch
5. Regardless of what tuner I used, they would nitpick my tuning. Many times after twisting tuning keys back and forth, the bass player would give up and tune my guitar himself. I have no shame, this does not bother me.
6. Since I've started using the Peterson ACU tuning (5 -6 years now), neither of them complain. Ever.
Over simplified? Probably.
Nonsense? It works for us.
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Post by Ward on Feb 26, 2020 7:06:50 GMT -6
My small contribution.
1. No guitar sounds perfect for every player.
2. A guitar can't actually be put in perfect tune.
3. Your pitch perception greatly affects how you tune an instrument...and . . .
4. I have perfect pitch but grew up on a USAF base, training on pianos tuned to 435 . . . because this Brit RAF choir/bandmaster insisted on tuning all the pianos and everyone's ears to that.
5. Sweetness in the tuning means flat of pitch, sharp of pitch is often referred to as 'bitter' or 'harsh'.
6. As your ears age, perception changes. When doing backing vocals on other people's records (as a session singer or my own productions) I usually have to pitch correct them up 12 cents . . . after 50 my ears have changed a little.
Please feel free to disagree or offer a countervailing argument. All opinions matter.
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Post by Ward on Feb 26, 2020 7:18:02 GMT -6
My question would be how the Taylor tuning would sound with a full production. I would think it would really rub. It never ever bothered Leland Sklar that I've heard him speak of. |
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Post by kcatthedog on Feb 29, 2020 9:50:28 GMT -6
The idea of standard tuning is a bit of a misnomer. It's a starting point and I think tweaking the tune a bit for the key and chord voicing just makes sense.
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Post by Bob Olhsson on Feb 29, 2020 11:05:10 GMT -6
Nothing has ever been equal-tempered but synthesizers and samplers!
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Post by donr on Oct 5, 2020 8:50:53 GMT -6
Equal temperment is what makes synth pop sound boring. For guitar players, they're 'tuning' as they play with finger pressure no matter what the tuner says.
Personally, I like 'rub' and even sour tuning, if it suits the music. And in tune singing and harmonies can sound glorious.
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Post by Johnkenn on Oct 5, 2020 11:34:23 GMT -6
Was listening to "Lovely Day" by Bill Withers the other day...That chorus ain't in tune..."Lovely daaaaaaaaay" Sounds like a couple of airplanes coming in...but it works.
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Post by mitchkricun on Oct 17, 2020 13:46:25 GMT -6
Thanks so much for reminding me of this! Between laziness and umm, more laziness, I had stopped doing this. Years ago, I was telling everyone about it, then at some point I got tired of looking it up all the time (cuz I couldn’t remember the different cents) Anyway, I just happened upon this thread today and tried it again, and man, what a huge difference on open string acoustic gtr!!! I had tracked some acoustics the other day, but the tempo was a little fast for the song I was sketching out, so I decided to bump it down a few BPM and re track. Night and day difference! It just melts into the track.... THANK YOU!
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Post by howie on Oct 20, 2020 23:11:09 GMT -6
I always notice that on my guitar(s) that if I get it spot on open strings as soon as I fret the 3rd or 5th fret - or just about anywhere on the finger board it likely goes sharp - so I tune the strings a bit flatter to match the tuner when fretted but also if it sounds OK - I'll re-adjust and hit all the strings - listen if it sounds nice - this James Taylor tuning is quite specific: low to high -12 -10 -8 -4 -6 -3. Kinda makes sense to me - but I'd rather tweak the guitars by even my imperfect ears.
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Post by yotonic on Nov 24, 2020 22:21:57 GMT -6
In the example the JT tuning sounds way sweeter and musical. Singers who sleep with their guitar, seem to know how to touch it. I like to tune my Rhodes until I hear something that makes me want to sing... Instruments are muses.
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Post by Martin John Butler on Nov 25, 2020 19:53:36 GMT -6
Funny, I recognized the Taylor tuning the second he started playing. It gives JT's recordings a sound of their own.
I use a combination of methods. First basic tune. Next,play a few basic chords, usually D, G. If the F# is good on D, it will be flat on G major, so after matching the D string to the octave on fret 3 of the B string, I check the G string against the octave on the high E string, trying to get them close. Then I find a compromise that makes both chords sound OK.
Then, I check low E on the tuner, then try it on fret 3. IF the G note on fret 3 of the low E string is sharp, I lower the low E by the slightest amount. Now, if the song has lots of chords up higher, I check E major on fret 7. The B string is typically sharp there. I make sure the A, D, G and B strings are sweet there, and it usually works for all the other high barre chords.
You have to be able to tune quickly if you're gigging, different keys may need some tweaking.
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Post by Ward on Nov 27, 2020 7:10:02 GMT -6
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