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RE: Eventual end of guitars structur... (in reply to Ricardo)
quote:
The problem being, sweetening one side of the spectrum sours the other end as in Bach's day.
Is this about intonation or temperament?
A theoretically perfect 12TET guitar should provide "0 cent deviation" all over the fretboard, if it doesn't, then it's just a regular guitar as we know and love.
RE: Eventual end of guitars structur... (in reply to Sr. Martins)
quote:
ORIGINAL: Sr. Martins
A theoretically perfect 12TET guitar should provide "0 cent deviation" all over the fretboard, if it doesn't, then it's just a regular guitar as we know and love.
This not about a theoretically perfect, but about relative improvement.
Ricardo,
I felt as if the guitars were well intonating and tuned. The number of imperfect sounding notes to me appeared as if it was from fingering. I think the player does a really fine job, and is fretting specially well barré, but some notes seem to be too strongly pushed down by fingertips. And supposing the Allbeniz piece to contain difficult and fast changing chords, it might be too much of a challenge to fret perfectly throughout, like so often. There, besides, also seem some overdone accentuations with the right hand, eventhough his arps and all are very nice and full sounding overall.
Having said that, it is my impression, but I could be wrong (about the left hand caused slightly off notes).
Anyway, players´ imperfection belongs to the game. (Otherwise we would be listening to midi sampler pieces.)
Ruphus
PS: You are right. The most obvious demo would be comparing same player with other guitars.
Posts: 15242
Joined: Dec. 14 2004
From: Washington DC
RE: Eventual end of guitars structur... (in reply to Ruphus)
quote:
I felt as if the guitars were well intonating and tuned. The number of imperfect sounding notes to me appeared as if it was from fingering.
Well...EXACTLY AMIGO!!!! And it's what myself and Rui been arguing about all along regarding the arbitrariness of a special compensation design in first place.
But after all, my point was that we have same player intonating perfect in one example, and not in the other. So I WANT to give the player the benefit of the doubt...but you are correct it could be the music difficulty between the two pieces revealing the player shortcoming NOT the instrument design flaw.
RE: Eventual end of guitars structur... (in reply to Ricardo)
quote:
ORIGINAL: Ricardo
Well...EXACTLY AMIGO!!!! And it's what myself and Rui been arguing about all along regarding the arbitrariness of a special compensation design in first place.
The inaccuracy through fingering does in no way boil down to that there was no use in enhanced accuracy of the instrument.
Same player + better intonating guitar = better sounding performance (and better sounding instrument overall)
Same player + worse intonating guitar = worse sounding performance (and worse sounding instrument overall)
The player is a variable, whereas the instrument stays parameter.
RE: Eventual end of guitars structur... (in reply to Sr. Martins)
quote:
ORIGINAL: Sr. Martins
Let's not forget, among all other variables (such has string tension, width, material)
These won´t change on the relevance of a well set scale. Unless the strings were so grossly uneven that there was no way to accurately intonate anyway.
quote:
ORIGINAL: Sr. Martins
Better player + same intonating guitar = better sounding performance (and better sounding instrument overall)
Worse player + same intonating guitar = worse sounding performance (and worse sounding instrument overall)
That is correct and has basically been said by me before in this thread. This equation functions both ways; and what it means in the end is that in respect of the discussed object there are two different factors.
And in fact the thread title deals with only one of them for a reason. -
What your presumed nerding above is concerned: The better intonation comes through with the very most (well fingered) notes.
RE: Eventual end of guitars structur... (in reply to Sr. Martins)
Am just listening a second time. The h string seems out of tune. (hohoho, now fire away! But I think that is it.)
Ruphus
PS: Don´t know why, but in my first years my inability to tune well and quick was majorly due to my difficulties with the h string. Even though, the g is being reported as the typical offender.
RE: Eventual end of guitars structur... (in reply to Ruphus)
quote:
These won´t change on the relevance of a well set scale.
I've been trying to make you understand that it totally matters since the beginning.
It's not about string inconsistencies, I didn't even mention that possibility... it's the fact that you have 6 very different strings and if you change them to a different brand/set/tension/material, you'll have the difference between the 6 and the "which string is each one".
To have a fretboard designed for minimal tolerance you would have to design it for a specific string set and the frets couldn't be parallel.
RE: Eventual end of guitars structur... (in reply to Sr. Martins)
Do you think I hadn´t known that?
Michael´s approach is the improvement of intonation under conventionally given conditions (just straight rests). Obviously, he thought that there must be improvement possible through better adapting increments, and it seems to my ears there actually was a way.
RE: Eventual end of guitars structur... (in reply to Sr. Martins)
I told you before, you mustn´t conclude from yourself onto others.
You prove some incredible inability to overlook matters, and as typical for fools are having no remote notion of it. You would feel at home over here where the mentality is exactly that. A traditional underestimation of subjects and knowledge.
RE: Eventual end of guitars structur... (in reply to Ruphus)
Well, earlier on you said that wavy frets weren't necessary, giving the impression that with Ruhes method you would get the same benefits without changing fret shape.
RE: Eventual end of guitars structur... (in reply to Sr. Martins)
I think I've found the war to end all wars.. Really? That's awesome! So it's all peace now? Absolutely! Well.. within a tolerance of occasional stabbings or nuclear warfare.. Hmm.. any sample testing done yet? Yeah, TOTAL peace, I guarantee!! Here, have a listen to this and be aware of the sea and birds. Well, I can hear the sea and I definitely hear birds but... what about all these loud explosions and gun fire? If you can hear past all that you'll be listening to absolute peace, almost like silence... just trust me. Wow, what a breakthrough!
Posts: 401
Joined: Mar. 5 2010
From: Caves Beach Australia
RE: Eventual end of guitars structur... (in reply to Sr. Martins)
The wiggly frets on "true temperament" are not to get 12TET You have to use their special offsets "Cromatic offsets in cents from equal temperament as follows: E -2, F 0, F” -4, G +4, G” -4, A 0, Bb -4, B -1, C +2, C”-4, D +2, Eb -4." and yes I know you don't spell it cromatic
http://www.truetemperament.com/how-to-tune/ So your chord intervals like the major third are going to sound a little closer to just intonation for some chords and further away in others
RE: Eventual end of guitars structur... (in reply to Jeff Highland)
It was mentioned that Feiten in particular would require a different open string tuning so it couldn't be perfect 12TET right from the start. The wavy fret thing still applies to 12TET though and Feiten might have that option (I don't know, never cared for that).
RE: Eventual end of guitars structur... (in reply to Escribano)
quote:
ORIGINAL: Escribano
Seriously, are you guys still at it? Don't reply to this message, just put a sock in it, please!
Agreed, only let me put one point straight in respect of his constantly false reflecting to my posts. What I said about wavy frets as well as about those cut up ones is that you wouldn´t want to have those, as they must be terrible to play on.
That is a very different statement from allegedly saying that such frets weren´t necessary. -
A debator owes to other participants to first read / comprehend correctly what has been said, before replying.
And if he fails to do so, in the way it has occasionally happened to me too, he should have the civilisatory decency to admit and if necessary to apologize, which is what I and others have done in such cases. This guy however has not done so once, despite of errantly responding to debators all the time. Instead keeping up a habit of distorting and tiring.
RE: Eventual end of guitars structur... (in reply to Ruphus)
quote:
What the BF wavy frets is concerned, who would really like to play on such. Me certainly not. And it isn´t necessary. As you can also see with Ruhes example where frets stay in the goold ol´shape and are merely shifted to where they ought to be when peculiarities of fretted strings are being taken into consideration.
Posts: 401
Joined: Mar. 5 2010
From: Caves Beach Australia
RE: Eventual end of guitars structur... (in reply to Sr. Martins)
quote:
Oh boy.. don't mix the cause with the consequence. If things worked like you're making it look, then we would be perfectly in 12TET with a straight nut, parallel frets and parallel saddle.
That is exactly what I am not saying I see nut and saddle compensation as important It is the non parallel frets that are unnecessary
The wavy frets are so that every E -2, F 0, F” -4, G +4, G” -4, A 0, Bb -4, B -1, C +2, C”-4, D +2, Eb -4." relative to 12TET, and to achieve that the frets have to be different spacing for each string
RE: Eventual end of guitars structur... (in reply to Sr. Martins)
quote:
ORIGINAL: Sr. Martins
Guess who's being quoted.
Congratulations, finally you have been objecting to something that has been there!
I should have added "... for better results under ergonomic conditions". Something that could be derived from my general argument though, if followed through.
Anyway, I grant you a find under isolated view if that helps.
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