Buzz Feiten Tuning System

WantzChas

I came across this while browsing the Washburn website (always had a soft spot for Washburn). I read up on it on the website, but still can't get why it's more special than regular tuning systems or why it's so revolutionary. Anyone had any experience using them?

Bob-Dubery

See http://www.buzzfeiten.com/

The Feiten system seeks to address some of the temperament/intonation problems that are a fact of guitar life with even the best guitars.

Since the system relies on a special nut I'd imagine that it has less advantages if you like to use a capo. They say that it works fine with alternate tunings, but Richard Thompson (who seldom plays in standard tuning) thinks otherwise....

If you play in standard tuning, it resolves the main tuning dilemma on the guitar, which is, making some of the thirds in the chords sound in tune, e.g. getting a C major chord and an A major chord both in tune, and F major and a D major... If you use open tuning, the advantages are less, and there are some disadvantages. Buzz’s method is, however, a well-considered system, and I would recommend checking it out to see if it’s something you need.

http://www.richardthompson-music.com/catch_of_the_day.asp?id=556

AlanRatcliffe

It does work to even out the intonation differences across the fingerboard. Capos don't cause any problems but detuning does.

I've gone for the Earvana compensated nuts which are not as invasive and do not require "sweetened" tunings and special tuners.

Bob-Dubery

Alan Ratcliffe wrote: It does work to even out the intonation differences across the fingerboard. Capos don't cause any problems but detuning does.

Well that surprises me (but what's new?). My conceptual view of a capo is a movable nut, so that concept has the cap nullifying the effect of the compensated nut.

Alan Ratcliffe wrote: I've gone for the Earvana compensated nuts which are not as invasive and do not require "sweetened" tunings and special tuners.

You can always buy a Peterson tuner with all those "sweetened" tunings built into it. I have heard that the Feiten system does require the use of specific tuner models to work properly. My little Boss tuner probably would not be up to the job. This may pose other problems because tuners like Petersons are, (again) according to what I have read, very accurate but also very finnicky and not necessarily useful for a quick correction in between songs.

AlanRatcliffe

Bob Dubery wrote: Well that surprises me (but what's new?). My conceptual view of a capo is a movable nut, so that concept has the cap nullifying the effect of the compensated nut.

At first thought it does seem logical to assume the cap would throw the intonation out. However, it's better to think of it as an extra finger playing a barre: if notes at the first fret are intonated correctly when you fret them, they will be intonated correctly when the capo is fretting for you. The compensated nut or Feiten system works mostly by fiddling with the scale length to ensure that the same fret positions

You can always buy a Peterson tuner with all those "sweetened" tunings built into it. I have heard that the Feiten system does require the use of specific tuner models to work properly.

That is my main objection to the system. Additional (and expensive) "special" equipment is asking for trouble in a playing situation. It works in a perfect situation - but gigging is rarely a perfect situation, batteries die, tuners get left at home, other instruments with fixed tuning (like "house" pianos) have an annoying tendency of being tuned sharp or flat.

Bob-Dubery

Alan Ratcliffe wrote:
At first thought it does seem logical to assume the cap would throw the intonation out. However, it's better to think of it as an extra finger playing a barre: if notes at the first fret are intonated correctly when you fret them, they will be intonated correctly when the capo is fretting for you. The compensated nut or Feiten system works mostly by fiddling with the scale length to ensure that the same fret positions

Did you hear that? That was a penny dropping. What you're saying makes sense (I think), because the compensated nut will adjust the scale length for each string and the "compensation" will be spread along the string when the instrument is tuned.

As for complexity... I think that too much is usually too much. I note that big outfits who have lots of roadies can have more variables, but they use the roadies to control the variables. An example would be Andy Summers who needs to use a lot of effects and has a roady patching his stomp boxes for each song and even turning them on and off.

But sometimes I think it's a bit academic. Can the audience really tell the difference in tone between Keef's '71 Tele and the '72? Do they really hear the adjustments that Andy Summers's roady makes to the flanger for each song? In 2007 I got to see Richard Thompson playing electric with his band, and I was surprised at how little he manipulated his gear during the show. As regards effects he seemed to have a couple of pedals that were just turned on or off (no twitching of dials, and where I was standing I could see his pedal board so I'm sure of this), and he didn't even seem to change pickup selections much - left it on "bridge and middle" most of the time. He has a very professional team around him, but not a big team - so he can't dedicate somebody to remotely controlling his stomp boxes via a PC.