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.
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.
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.
Post by Ward Omnivorous 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 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!
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.
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.
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.