Checkout My best-selling teach-yourself course: www.andrefludd.com/one-course-to-make-you-intermediate Disclaimer! This is not academic or peer-reviewed research! I've cut many details and simplified certain parts to keep the format fun and a "reasonable" length. Also, if for some ungodly reason, you make it to around the 27:40 mark, there is an error with the last 2 test examples.
A440 has nothing to do with equal temperament or temperament at all - it is a pitch. From A440 you can tune into whatever temperament you want. The only purpose of A440 standard is to make sure that instruments in a band/orchestra are not out of tune relatively to each other disregards of the temperament they use.
@@metalosaur the frequency of a also changed throughout history. it was as low as 416 and went above 440. conductors still choose different a's for their orchestras.
To be entirely honest, I kinda like the slightly out of tune dissonance/beading that comes from the "non-true temperment," it feels like part of the character. Your true temperment chord, and other instances of true temperment that I have heard almost sound too good to be true, and maybe a bit uncanny. Like hearing overproduced deathcore/deathmetal, where it sounds like the aggression in the playing of instrument kinda disappears Maybe it comes from listening to ALOT of extreme music and becoming accustomed to dissonance as a tool to amplify a heavy riff or passage in the song. After so long of that, I started to find a strong beauty in the dissonance, which started my love for some jazz, and other music. Then again, it might just be another stage of understanding/enjoying music. ETA: this video was pretty awesome! Thank you for uploading this! Will also add, true temperment for ambient absolutely makes sense
bro. math does not need a peer review. Set your pickup and action height to the same specifications as is humanly possible and you have a solid reference. Use an oscilloscope and you've done your due diligence. I respect and admire what you're doing.
@@metalosaur Yeah except if C remains the appointed frequency it is all out of tune in any instrument. 440 as A does not result in all frequencies being whole number. 441 hz does not necessarily as 'A' . Everyone wants to know what throws everything off, it is this = A as 440 when C is a fixed frequency that doesn't move with what A should be. for example if 'A' were 432 hz, then C in SOME places would be 252 hz, and the places it is not, are not meant to be 252 hz, they are meant to be other frequency, because for all pitches the locked physical ratios of frets placed by the 12th square root of 2 is precisely the frequency required to be used together with all of the other precisely fretted ratios, they are correct! Try your ears, all the notes are heard without cancelling, all the overtones, all the harmonics atomizing in your ears. Its beautifuL. Try it. the mistake is to keep C as a certain frequency whilst changing A as a frequency, their distance must be the exact place it needs to be to match 20 EDO, then the 12 notes come alive. i spent years and years everyday with scrolls of math by hand 20 feet in length and all frequency mapped out on the floor with frequency players and measuring software and gigging musical hardware alike to figure all this out and understand why colleges and the world at large has such a problem understanding or finding it. The distance of A and C are based on even intervals numbering higher than twelve notes based on the distances between all notes. 12th square of 2 is 12 notes of 20 edo. and have all keys of all edos contained within them, that is why the frequencies swap out for better sounding frequencies but they swip swap and exchange in all the correct places all whole number frequencies and NOt any wolf tones. all harmonics and overtones jumping out perfectly, with clarity, loudness, and fullness of tone and brightness. i am a guitar luthier and guitar designer. You shall not ever have a problem chording in any key after finding it. And it is not sellable because i am own it. i am that i am and i am dictate all things. i am and where i am is the kingdom also.
I've been playing guitar for over 40 years and I found a simple solution to the tonal variations of standard frets and tuning. If you make enough mistakes, the rest of the notes sound pretty good by comparison. Then if you sing like a donkey sitting on a hornets nest nobody can hear your mistakes, or poor tone. Epic win! Flawless victory! Of course my channel view count might be a clue that this is generally not a strategy other people want to hear. Luddites.
Finally somebody who gets it. My band all make sure that nobody listens to our music so that there is never any temptation or influence to compromise our true artistic direction. Hasn't failed us yet, we've played exactly the same for almost 20 years.
my opinion (not a music doctor, just someone who has played for almost 50 years and knows a little about intonation)..... TT is STILL a compromise that does NOT completely fix intonation issues. It does HELP intonation issues between strings and that is where it is most noticeable. IE, playing a major third across 2 strings will sound bad in equal temperament because ... math. The maj 3rd should be flat of equal temperament tuning to sound perfectly in tune. One of the main things TT "fixes" is that flatter major 3rd but... nothing comes free. There is a cost and that is being out of tune. Yes, everything is SLIGHTLY out of tune to make it sound good for those chords but you will be slightly out of tune with OTHER INSTRUMENTS. Just know that. And know that you won't be able to play perfectly in tune fourths, fifths... it's kind of a scam, really. Because just LOOK at the frets on the G STRING. They go flat and sharp and there's really no valid logic to do that. Going ALL FLAT would fix the maj 3rd issue on the G string for those fat bar chords but it would also cause worse issues on all OTHER chords. So.... just think, that's all I'm saying. Eddie solved the maj 3rd problem by detuning his B and E strings. He was out of tune a bit when he need those strings for 4ths and 5ths and octaves but he lived with that because of that massive golden major bar chord he used on 80% of his tunes (Runnin With The Devil is probably the greatest example of it). My verdict... if TT floats your boat and you THINK it improves your tuning, good for you. Buy it if you can afford it. For me, it's a no.
It's funny, I recognised TT in most of the samples but I've been conditioned enough on normal frets that they sound more natural and better to me. This might have ended my GAS for a TT fretted guitar. Very informative video!
I got 4 out of 5 but they were all the non TT instrument, to me the TT instrument sounded incorrect I definitely would say that's because of 30 years of playing guitar and having a re-enforced sound in my head of what the note intervals sound like together even if they are further away from true temperament
The quality of your content is simply astounding and as a 20 year old musician from argentina you inspire me to chase my musical education simply by making these awesome videos . Keep at it man
It’s interesting that you talk about your solution of using a vibrato to mask pitch inconsistencies - In studio work we often double track guitars or use subtle modulation like chorus, partly to make up for the guitar’s natural pitch inconsistencies, kind of in the same fashion!
You should never try to take away from the inconsistencies aka dynamics. Modern rock and metal sucks largely due to the studious having absolutely zero clue on what a great sound is.
An A+ from me for this explanatory video. Finally someone that touch this topic. Excellent that you don't put a ton of EQs and compression for audio examples and let it as raw as possible.
What an absolute pleasure stumbling on a channel that is produced but not overly produced from an author who is clearly not an idiot. Subscribed and will definitely follow more content.
This guy explains this so well, especially the human factor and perception of expectations of the next note and hearing one sound because you expected it, then listening back and it wasn’t actually what you expected.
There's something in that gentleman's voice that makes me wanna watch the whole video and I feel relaxed and comfortable at the time. Weird to say that
I'm so glad I found this channel. I discovered it when I came across the video about you giving up analog. I discovered it a bit too late to save me from these clunky tube amps that I can't bring myself to get rid of. But I found it just in time to watch this video and prevent me from investing in one of these instruments. The way you presented it definitely kept me from making yet another costly purchase that wouldn't really benefit me much.
The ability to adjust intonation on the fly is one of my favorite things about playing fretless bass. It’s very satisfying to find the perfect place to “sit” in a chord with other players.
Easy to spot in all examples. I have 3 TT neck guitars and can never go back. The only problem is when getting used to it, at my ears gotten so sensitive that I have to keep it in perfect tuning and even adjust how hard to press each string in different chords.
What I find fascinating is that in test 3, the true temperament guitar seemed to me to break up the amp more because the frequencies were aligned better and thus they amplify each other. Thank you for this material. I was looking into TT for some time now. I laughed at the TT Freebird.
I'm really appreciating your videos! I get really frustrated and annoyed with 98% of presenters because the spend 90% of their time babbling useless verbal filler. They talk with the purpose of stretching out the run time of their videos, and could make their point in 10% of the time they actually use to do so! You actually present useful, relevant information. You're a breath of fresh air, thank you! Your comments on the balance between the need for tonal center freedom and the human element is, I think, very accurate. Certainly our brains compensate for tuning that isn't totally precise. Personally, I think that without this ability the music we could stand to listen to, that we create, would be somewhat, and perhaps even quite different from what it is now. You mention in this presentation that equal temperament is calculated for the 12 notes in an octave, which is true for the middle pitches, but not quite true as pitches go higher or lower. Orchestra musicians make slight adjustments to pitches as they play to make perfect intervals, thirds and sixths more in tune, while not giving up equal temperament as a whole. This is especially true of held chord tones. Some of these adjustments are done consciously, others are done automatically. In this way there's an element of 'true temperament' in all the intervals and chords that a professional orchestra plays. I thought you might enjoy an excerpt of a document titled "The Equal Tempered Scale and Peculiarities of Piano Tuning" written by one Jim Campbell: "When one measures a piano that has been tuned by a skilled tuner, something interesting will be discovered. The middle of the piano will be close to perfect, while somewhere about the second octave above middle C, the notes will gradually become sharper, until at the high C this sharpening may be as high as 20 to 30 cents! Also there will be some flattening of the notes in the lower octaves. Shown is a plot of actual measurements of a piano tuned by a skilled tuner, along with a curve resulting from the average of many such measurements. (I can't upload a document or picture to a comment.) This affect is known as the "stretching" of the upper and lower octaves. It is due to the fact that a string does not necessarily vibrate at perfect natural harmonics. The harmonics of a vibrating string tend to be sharp of the natural harmonic series. This becomes more pronounced as the string is made shorter or thicker. When the tuner is tuning octave intervals up the keyboard, they tune for the best sound, compromising the beat between the string fundamentals and the beat between the octave partial of the lower note to the fundamental of the upper. This produces a slightly sharp octave interval between the two strings. This slight adjust accumulates towards the high and low end. If a piano is tuned to a perfect scale top to bottom, the beats produced between partials of the high strings clash. A piano tuned with the upper and lower octaves stretched just sounds better. The shape and degree of the stretch is dependent on the string configuration of the instrument. Pianos with longer bass string sections require less stretch in the lower end. In principal then, a piano could be fairly well tuned using a tuning indicator device, such as a Precision Strobe Tuner, and adjusting the device calibration accordingly across the keyboard. A further refinement of this method might be to develop and use different tuning curves for pianos of different construction. A simplification of the above method would be to tune the piano correctly up the keyboard to about E5. From this point up, progressively sharpen each note about .5 cent ending at C7 sharp about 30 cents. This two line curve fit can be readily set using a chromatic tuning indicator device and seems to result in a reasonably well sounding tuning. This is probably a good starting point for the beginning and amateur tuner. There are algorithms and software available which will calculate a temperament for a given piano based on inharmonicity measurements. There are also people who will say this can be done properly only by human ear. Unfortunately, this is a skill that seems to be falling into decline. Perhaps the best method for the amateur tuner of finding the best temperament of a given piano is to locate a skilled tuner who tunes by ear and have them tune the piano. The stretch could then be measured and recorded for future use. Of course, a student with patience and perseverance can learn to tune a piano properly using a single pitch reference and their ears. It is said this is a skill that can take years to develop. If the number of skilled piano technicians continues to decline, it is a skill that could become more and more valuable. The goal of musical instrument adjustment and tuning is an instrument that sounds good. The qualitative definition of what sounds good has been being developed by musicians and instrument makers for thousands of years. Modern technology has provided the tools to make very accurate quantitative measurements of these qualities. But these tools are only tuning aids, alone they do not guarantee the goal of adjusting an instrument so that it sounds good. As we have seen, a piano tuned perfectly to an equal tempered chromatic scale will not sound as good as one that has been stretched somewhat in the upper and lower octaves. However, when these tools are used along with a bit of judgment based on knowledge of music, good results can be obtained."
I'll def check out the referenced video. Thank you so much for spending the time to explain some of this. I'll have to sit down and read it again a bit more carefully after a bit more research.
I have had these burning questions for years. Thank you SO MUCH for not only giving extremely detailed information but for being so clear with how you explain! Earned yourself a subscriber 👌🏽👌🏽👌🏽👌🏽
Great video, I didn't expect the "Devine Prank" problem that was the bane of Renaissance and Baroque music theorists' existence to show up, but you did a great job of explaining it! Fux would be proud!
What you mentioned in the "my thoughts" section is perfectly illustrated by non-fretted performances. When i did cello recitals there were many cases when even people who play a lot better than i ever did were clearly "off". We're talking un-intended "eastern music, 1/4 tone at the very least" off. But because the piece itself was very melodic and our brains can anticipate the direction of the melody & harmony it was absolutely fine. No one in the audience even noticed. Moreover, the TT guitar sounds very... un-natural to me. There is something jarring about the improved intonation, as paradoxical as it may sound. I could hear the TT easily in all your tests, but I can't say i particularly liked it. Especially not when other instruments (backing tracks) were involved. Thanks for the video, it was super interesting to watch!
back when i played classical guitar consistently, my teacher said that when you’re playing a solo piece, and there is a high point of important, he said to tune the string so that specific note is perfectly in-tune. it was an interesting tip.
This was incredible and stuff I've never gotten into before. Completely fascinating. The tests at the end were great, but as pleasing as the TT version sounded in almost every case, I couldn't help but think the other version sounded more typically guitar-like to me--slightly off and a bit more like how it would sound live in my mind. I don't think I'd ever be able to tell if TT is used or not if it's mixed in with a band. As always, your hard work shows through in each video.
Nice presentation. The standard frets sounded better in almost every case to me. I think the guitar has bent my ear, lol. I do think nearly as much could be done with setting up your intonation by summing or prioritizing which notes are more in tune, as opposed to defaulting to the 12th fret/ 1st harmonic checks. Once the first drum cracks and a cool breeze rolls in it’s all a balancing act anyway. Vibrato sounds yum.
I did Alan Limbricks Guitar Institute Degree with people like Shaun Baxter in London and have been playing both professionally and otherwise for 40+ years before my current profession. I stopped playing for a while as I am very sensitive to tuning and while the intonation is good as it gets with my 2002 Tom Anderson Hollow T classic, and baby Martin but it is not perfect and some days annoys me 🙄. I put the Martin into the shop and had a staggered bridge fitted which was a massive improvement. Then, I played a Strandberg true temperament 6! it was like a revolution in my head. Suddenly, I wanted to play again so, I am looking around for one that catches my eye and not sure which pick-up model to get as I play mostly melodic Jazz / Country / mild Rock / Blues. yeah, you talk too much BUT good and thorough review, thank you.
Love the deep dive into this topic. I've always wondered about how those squiggly frets would affect sound and playing. Thanks for this thoughtful (and thought-provoking) explanation and comparison of the TT vs standard necks!
REALLY appreciate th e first 6 minutes of this video. You really nailed the explanation of temperament as relevant to modern guitar playing, the analogies of Just James and Equal Emily were helpful, and I REALLY appreciate the explanation of the goal of the true temperament system. And I ABSOLUTELY hear the gently improved intonation in your first set of A/B samples, especially since I use a compressor for my youtube audio, and any "beating" or "warbling" or "pulsing" of slightly out-of-tune intervals becomes really really apparent. Also I'm surprised how similar the Fishman and Suhr pickups sound to each other with the settings/hand techniques you use. Lastly, I REALLY appreciate your comments about "audience/musician perception" and point out how important the emotional component of performance really can be. Extremely well-constructed video!!
Thank you! I pretty much sound exactly the same no matter the guitar or rig lol I think I subconsciously play slightly differently to sound like me after a couple seconds of hearing a new guitar.
@@andrefludd That makes a lot of sense for a musicain who spends a lot of time with the instrument. Then the tone comes from your body, not the guitar. Brief tangent: reminds me of my drum teacher when we approached swing drumming. Ideally, "swing" comes from your body, not the sticks or the cymbal. If you want the gig, you want to be able to swing with fork on a napkin at a diner table. 🤣I tried to take that to heart.
This was great! Very intelligent rundown. I was doing the intonation on a guitar recently and looked up some stuff on you tube to see if anyone had any new suggestion and I still get suggestions dealing with intonation. I'm always retuning when changing key. It would drive me nuts to play in D and then not retune if I had to play in E. I've always wanted to try one of the guitars with the corrected frets. Nice explanation thanks for posting!
I really like your playing style.. I was expecting shreddy maybe fusion style. But it was really subtle, understated, and simply beautiful. So, I appreciate that more than anything else. Thanks for the music!
I think chords might be better to demonstrate these since you can hear whether or not the different notes are "in tune" with each other and whether or not the chords are more or less dissonant in a negative way Or something like that
A= 440 is not a shorthand for equal temperament. It's just the pitch A is tuned to. Otherwise, this is a far better explanation of "True Temperament" than I've seen from any other guitarist. I've heard some ridiculous claims from some guitarists like "every key is better in tune". That's impossible, as you explained. I hate this company because they're spreading straight LIES about temperaments. From their website's FAQ: "Is there any key that works better than others using TT? No, all keys work together perfectly fine all over the fretboard. The Thidell Formula One temperament is the only temperament we now offer and is not to be confused with other temperaments we have offered in the past, like Meantone and True Temperament 12 tone equal etc." Anyone paying attention can tell you what's wrong with this claim. I think their products are cool, but I HATE the lies and misinformation they spout.
Also, it's worth noting that Thidell 1 (the temperament they use) is a VERY mild temperament. Only a few cents off from equal temperament for each note.
@@andrefludd Yes, I think their past options created a lot of confusion, but they haven't corrected this in their messaging. Their past equal temperament option hypothetically would be accounting for the quirks of guitar, but keep it more in line with synths, while their past meantone offerings could allow better tuned chords in 8/12 keys, with 4 really out of tune keys. Very cool products with marketing that I hate. To be fair, it's a hard sell, but in a way they're overselling and underselling their own products at the same time. I personally like to use free software synths like Surge XT to play meantone temperaments on my keyboard.
@@andrefludd btw, check out "6th comma meantone". I've seen some strong arguments that this is the tuning Mozart used. It's also very close to a 12 note subset of 55 tone equal temperament, similar to how "quarter comma meantone" is a 12 note subset of 31 tone equal temperament. You seem like the kind of guy who would be interested in that kind of thing as much as I am.
What an entertaining analysis! I had no idea these sound so different. Didn't really enjoy the TT frets, even out of comparison. I'm probably so used to the regular frets that they sound more 3D in contrast.
andre, i wish i had professors like you in college. you are one cool dude and a very good teacher. don't get me wrong i had great professors, basically the entire los angeles guitar quartet (look them up), and cats like richard smith, larry koons and joe diorio, but you would have made a helluva addition.
All of the different guitars I have owned, the guitars I have liked least are the ones with the bridges squiggly. These guitars never tune right for me so how are they any different than the "True Temperament"? What was truly the best thing for me was learning how to set-up my guitar. I guess, sooner of later, I'll have to try one of these guitars.
I don't know who you are, or how you got in my feed, but my dear doctor, here is a new subscription for you. I like your cadence, and your explanations were easy to follow. Good Job.
Hi Andre, Just stumbled on your channel today. Quality stuff. Thanks! Regarding the test: To be honest, I could tell on every single one of your tests, including the ones with backing. To me it sounds clearly cleaner/more in tune. Perhaps is it because I come from a place of playing classical piano and keys since childhood - This has always bothered me slightly every since I picked up a guitar at age 14. That being said, I am not sure I am a fan of the guitar itself and I have heard quite a bit on build quality at that price point.
I´m just about to make a purchase of a Strandberg with his system, you helped me a lot sir! Amazing videos as usual. Personally I found your tech tech talks top notch, I said it in the past and let me repeat it again: thank you!
If you ever see an old lute and the gut (tie-on) frets are spaced oddle or are at strange angles it's an attempt to do what this guitar is trying. Especially true for Baroque lute where, due to the tuning of the top courses, there are a TON of exposed thirds in most of the music. Thirds are where I notice the biggest change in equal temperament to just or other forms of intonation.
When it comes to taping the frets, my best tip is to use yellow Frog Tape, overlap it, press in place, cut loose, press the edges back, fill any gaps (this gets less neccessary with practice), then wet the edges with a damp rag (it should leave no visible wetness).
Hey, Andre! Killer video, dude. This is exactly the resource I wish I had way back when I was shopping around for a guitar with a TT fretboard. I ended up going with a Caprison Apple Horn 8. I absolutely love it, but it sure did cost a pretty penny, lol. I'd love to see you check out that guitar on video sometime if you ever get the opportunity! Look it up if you haven't seen one yet (it's Mattias Eklundh's signature guitar). Love your videos, man. I really hope you get out of TH-cam whatever it is you're aiming for, because you certainly deserve with all the time, money, and effort you clearly put into your content!
The Best Explanation I've Ever Heard About this 'Everyones got the answer, until Reality shows up!' Subject! Wow' Thank You! 🖖🎸🔊🎼 _ edit, TT makes ones guitar sound like a Keyboard' Everythings almost 'to perfect' _ guitars are kinda like stringed 'Bag pipes' the 'Skewing' is part of the adaptive charm🎼✨ 'Love both!
Thanks for the run down, Professor. I’d been really curious about the true temperament Strandsberg and I really appreciate how exhaustive and accurate your reviews are.
Hey all, great sounds, the true temperament is a very skillful design and sounds great. The square of 2 are physical precise ratios on the freatboard and they are exact, it is the frequency and the relationship of the distance between A and C that you are using that throws it off, do not look for doubled numbers being the same everywhere, for their natural placement is the correct note that exhanges fo another frequency that fits the ration, this is how college went wrong and ill misunderstood mathmatics are incorrect. The math of it is precise, the ratios are precise and just, so are the all the whole number frequency, trust in the square root of two, make 432 as A and allow C to change freely. All the notes shall have variance, and every note shall be heard, and perfect pitch shall be achieved, it is based on the tree of life, where death hath not any power. Only the tree of the belief that there must also be evil have death.
Just wanted to say that within four seconds of clicking on your video, I could tell you’re a quality channel, and subscribed. Looking forward to seeing your channel grow 😊
This is so informative to watch! Thank you so much for putting the time into this, it answered questions I didn't even think of, and I really appreciate it. :D
You make exceptional content, subbed. I've been thinking of doing TT when I start adding acoustic builds.. since I am focused on fingerstyle and solo players. This review has pushed me closer to doing so. thank you for this. Great channel and great playing
@@andrefludd Thank you, as someone new to YT creation this year, the work it takes to create this quality is impressive. Truly appreciate the effort and the inspiration. Binging your other vids lol. The Beato review is super informative from a players perspective
I would actually like to hear this kind of test with identical guitars but with the different fret styles. I think the tonal differences were enough to make one sound better to me than the other and subconsciously impacted my opinion on everything else about the sound.
Spot on man. I notice that if I look at the fret mods on a true temperament it compensates what I do with my hands or slight tuning variation depending the guitar.
I play guitar for fun, but my main instrument is bass guitar and double bass. In theory I could be playing the double bass in true temperament, but as I usually have guitar players with me I probably play to them. I feel that when I played orchestral I use slightly different notes, perhaps because the lead instrument is a violin, never really thought about it. I will now, thanks to you 😊
I slide between and bass and 6 string myself. I definitely took into consideration before I even saw this video that if I buy a TT guitar, wouldn't the bass need TT too? Any live second guitar too? We would need the entire fleet to TT exactly like each other right? This video provided many other reasons not to do it.
Great video! If you’re interested in using the vibrato system with true temperament, they do sell Stratocaster replacement necks with them (very high price and very long wait time though). Keep up the good content!
Makes total sense. And I think really the main problem if you got a TT guitar is that everything else would sound kinda bad in comparison 😂. That could be a problem. Personally I don’t own a TT guitar, however I do own a Strandberg Fanned Frets Boden Prog 7 and the vibrato makes it preferable to stick to one string gauge and one tuning. It’s also more tedious to tune especially when putting on new strings, but once it’s tuned and the bridge is setup properly the guitar stays mostly in tune and gets close to like a Piano sound. When compared to - say for example - my 7 string Ibanez with fixed bridge, then it’s a very different vibe and I’m not quite sure they pair well together in a song or mix. That Strandberg is of course even more radically different than my Telecaster. The Tele being the first solid body guitar model ever made for mass production and Strandberg being a very modern type of instrument company. There’s already a huge difference right there without even getting into the TT realm. So I feel like if your main instrument is a TT guitar you might be putting yourself in a corner. Which can be fine, but not everybody can be Per Nilsson and your sound won’t be a good match for most bands if you try to do sessions or join other bands.
Great video. This is probably just 100% something I would have to experience for myself, but listening to the TH-cam samples I honestly preferred the non-TT 3 out of 5 times. I don't know if thats just because my ears have been trained to expect what a non-TT system provides or what, but I was surprised by that.
What I’m really interested in is, and I’ve heard some people imply it, the possibly increased sustain for natural harmonics by reducing the dissonance. And particularly if you’re able to hit harmonics that are traditionally more ‘fragile’ or difficult to get if even at all. I know you touched on sustain, but again I’m more specific to harmonics.
God it is such a head spinning experience to watch your content with only an introductory level of knowledge of music or guitar. It's all interesting, but it takes so many listens to grasp it. If you didn't have the non musician summary, I'd definitely just have to ask my musician partner to break it down for me.
your parker on the left looks so fire idc how good ola designed your current workhorse lol. I got to level up my skillset before i acquire another guitar thanks for the inspiration.
One guy that use tempered frets use a caparison 8 string guitar, I love him and his guitar camp. The sound he creates and the harmonics really sound awesome ( Mattias Eklundh) You can find him on TH-cam. Awesome sound you have there . Subscribed ;)
In my limited experience, the TT sound is more noticeable on chords higher up the neck, especially if they utilize more than 3 notes. I remember seeing a video of someone A/B testing a Berg with TT and a barebones Tele. In a vacuum, the TT sounded more 'precise' for lack of a better word, but the Tele just had a vibe to it that felt good. As a musician, you'll have people asking you questions like, "should I get a guitar with X feature?" and the response I always go with is: "See if you can try out a bunch of instruments in person. The one that feels like home when you pick it up and play is the one you should get."
Thanks for doing this! I just ordered a true temperment neck! And I can't tell the difference during the tests! Lol. Lucky they look cool! I'm going to be putting it on a variax, so it'll be cool to see the results with some of the open tunings and lower tunings etc.
This is one of your best videos. I would be interested in hearing the two guitars plus the “perfect” synthesized sound. I’m addition, with the 3 examples, listening to some of the common chord transitions played in songs.
Story time: I met Ola in 2015 - he gave a presentation of strandberg and during it he said that he had always wondered why a lot of classical guitar players take breaks to tune in the middle of a piece, and I put my hand up and said “they’re changing key” - I guess it intrigued him and asked me to explain so I went into the beginnings of this, trying to explain why not even true temperament can get a guitar “perfectly in tune” (which he was claiming at the time (which is reasonable, of course) but of course I couldn’t steal him for half an hour… thanks, this was a very clear video - well done!
My Tom Anderson Baritom has the Buzz Feiten system. I like to double rhythm guitar parts in the studio, often with different guitars. There's always some weirdness doubling the Baritom with a non-tempered guitar, but it’s a weirdness that I like. A subtle lushness that weaves in and out, without being in-your-face like a chorus effect.
Okay, you sir fried my brain, I thought I knew things about music but damn, I am pretty clueless. Awesome video and an awesome channel! Really underrated but will explode I'm sure of it. Cheers Andre!
I have a Fender Highway One Telecaster (USA) and it is the MOST used guitar in the entire studio. Being a traditional bridge, intonation was already an issue, but compensated saddles did a TON of work for that. True Temperament makes a Telecaster direct replacement, and it's been on my list for a couple years. I'm really impressed with the results you displayed here. Thanks for the video!
Really cool, I especially like how you carefully hedged the big-brain theory with the notions of subjectivity and the human factor - whether intended or not, that alone just sort of allowed the valuable information to bypass the filter of my ego! I kinda wish the soundbites of chords in the tests were slightly longer, though Keep it up, doc!
What a cool explanation!!! I almost get the feeling that the true temperament people want to keep their exact fretting/unequal tuning a secret. Would it be accurate to say that true temperament is a well temperament system that compensates slightly for a guitar’s structural irregularities? I could hear TT vs. 12-TET about 75% of the time in the tests. Major chords are more preferable in TT, minor can go either way imo
Now waiting for the "worst ever beato temperament best explanation ever, explained" video as these are clearly the keywords that attract views, going by the stats. Thanks for STILL keeping it real André and good to see your channel still growing despite the absurdity of the TH-cam algorithms.
1. Love the tapping 2. Great detail as always But 3. At this rate of acquiring the fancier Bodens, I expect that you'll have a Fusion Titanium or DR Titanium by next week lol.
Awesome video. Very informative! One thing I have noticed is the "D chord " is often horrible on shorter scarle guitars. For example, a Les Paul with almost "perfect" intonation will sound absolutely horrible while playing a d chord. A stratocaster on the other hand can be very poorly intonated, and the d sounds fine. I understand that the longer scale makes small fret placement errors less noticeable, but it seems disproportionate.
![[Guitar Vlog] I played a weird guitar - ft. Adam Neely](http://i.ytimg.com/vi/-penQWPHJzI/mqdefault.jpg)
Checkout My best-selling teach-yourself course: www.andrefludd.com/one-course-to-make-you-intermediate
Disclaimer! This is not academic or peer-reviewed research! I've cut many details and simplified certain parts to keep the format fun and a "reasonable" length.
Also, if for some ungodly reason, you make it to around the 27:40 mark, there is an error with the last 2 test examples.
A440 has nothing to do with equal temperament or temperament at all - it is a pitch. From A440 you can tune into whatever temperament you want. The only purpose of A440 standard is to make sure that instruments in a band/orchestra are not out of tune relatively to each other disregards of the temperament they use.
@@metalosaur the frequency of a also changed throughout history. it was as low as 416 and went above 440. conductors still choose different a's for their orchestras.
To be entirely honest, I kinda like the slightly out of tune dissonance/beading that comes from the "non-true temperment," it feels like part of the character. Your true temperment chord, and other instances of true temperment that I have heard almost sound too good to be true, and maybe a bit uncanny. Like hearing overproduced deathcore/deathmetal, where it sounds like the aggression in the playing of instrument kinda disappears
Maybe it comes from listening to ALOT of extreme music and becoming accustomed to dissonance as a tool to amplify a heavy riff or passage in the song. After so long of that, I started to find a strong beauty in the dissonance, which started my love for some jazz, and other music.
Then again, it might just be another stage of understanding/enjoying music.
ETA: this video was pretty awesome! Thank you for uploading this! Will also add, true temperment for ambient absolutely makes sense
bro. math does not need a peer review. Set your pickup and action height to the same specifications as is humanly possible and you have a solid reference. Use an oscilloscope and you've done your due diligence. I respect and admire what you're doing.
@@metalosaur Yeah except if C remains the appointed frequency it is all out of tune in any instrument. 440 as A does not result in all frequencies being whole number. 441 hz does not necessarily as 'A' . Everyone wants to know what throws everything off, it is this = A as 440 when C is a fixed frequency that doesn't move with what A should be. for example if 'A' were 432 hz, then C in SOME places would be 252 hz, and the places it is not, are not meant to be 252 hz, they are meant to be other frequency, because for all pitches the locked physical ratios of frets placed by the 12th square root of 2 is precisely the frequency required to be used together with all of the other precisely fretted ratios, they are correct! Try your ears, all the notes are heard without cancelling, all the overtones, all the harmonics atomizing in your ears. Its beautifuL. Try it. the mistake is to keep C as a certain frequency whilst changing A as a frequency, their distance must be the exact place it needs to be to match 20 EDO, then the 12 notes come alive. i spent years and years everyday with scrolls of math by hand 20 feet in length and all frequency mapped out on the floor with frequency players and measuring software and gigging musical hardware alike to figure all this out and understand why colleges and the world at large has such a problem understanding or finding it. The distance of A and C are based on even intervals numbering higher than twelve notes based on the distances between all notes. 12th square of 2 is 12 notes of 20 edo. and have all keys of all edos contained within them, that is why the frequencies swap out for better sounding frequencies but they swip swap and exchange in all the correct places all whole number frequencies and NOt any wolf tones. all harmonics and overtones jumping out perfectly, with clarity, loudness, and fullness of tone and brightness. i am a guitar luthier and guitar designer. You shall not ever have a problem chording in any key after finding it. And it is not sellable because i am own it. i am that i am and i am dictate all things. i am and where i am is the kingdom also.
I've been playing guitar for over 40 years and I found a simple solution to the tonal variations of standard frets and tuning. If you make enough mistakes, the rest of the notes sound pretty good by comparison. Then if you sing like a donkey sitting on a hornets nest nobody can hear your mistakes, or poor tone. Epic win! Flawless victory! Of course my channel view count might be a clue that this is generally not a strategy other people want to hear.
Luddites.
Who are you, who are so wise in the ways of music?
Thank you! I almost bought a true tempered guitar, but this comment convinced me to try a different, more tried and true approach
thats basically black metal.
Finally, an expert's analysis of my 60-year guitar playing and performance "method"! 🤣🤣🤣
Finally somebody who gets it. My band all make sure that nobody listens to our music so that there is never any temptation or influence to compromise our true artistic direction. Hasn't failed us yet, we've played exactly the same for almost 20 years.
my opinion (not a music doctor, just someone who has played for almost 50 years and knows a little about intonation)..... TT is STILL a compromise that does NOT completely fix intonation issues. It does HELP intonation issues between strings and that is where it is most noticeable. IE, playing a major third across 2 strings will sound bad in equal temperament because ... math. The maj 3rd should be flat of equal temperament tuning to sound perfectly in tune. One of the main things TT "fixes" is that flatter major 3rd but... nothing comes free. There is a cost and that is being out of tune. Yes, everything is SLIGHTLY out of tune to make it sound good for those chords but you will be slightly out of tune with OTHER INSTRUMENTS. Just know that. And know that you won't be able to play perfectly in tune fourths, fifths... it's kind of a scam, really. Because just LOOK at the frets on the G STRING. They go flat and sharp and there's really no valid logic to do that. Going ALL FLAT would fix the maj 3rd issue on the G string for those fat bar chords but it would also cause worse issues on all OTHER chords. So.... just think, that's all I'm saying. Eddie solved the maj 3rd problem by detuning his B and E strings. He was out of tune a bit when he need those strings for 4ths and 5ths and octaves but he lived with that because of that massive golden major bar chord he used on 80% of his tunes (Runnin With The Devil is probably the greatest example of it). My verdict... if TT floats your boat and you THINK it improves your tuning, good for you. Buy it if you can afford it. For me, it's a no.
Your dedication to these analysis is crazy! Very underated channel.
Thank you!
This video is exactly what I needed. Great channel, love the guitar-hero looking guitar in all your backgrounds.
Subscribed!!!!!
It's funny, I recognised TT in most of the samples but I've been conditioned enough on normal frets that they sound more natural and better to me. This might have ended my GAS for a TT fretted guitar. Very informative video!
Glad I could help!
I’m the end if we were all rolling in unlimited money nothing could actually over power gas. Lol
@@MisterRorschach90 very true!
I got 4 out of 5 but they were all the non TT instrument, to me the TT instrument sounded incorrect
I definitely would say that's because of 30 years of playing guitar and having a re-enforced sound in my head of what the note intervals sound like together even if they are further away from true temperament
@@michaelkramer9014 I see. Thanks for sharing!
The quality of your content is simply astounding and as a 20 year old musician from argentina you inspire me to chase my musical education simply by making these awesome videos . Keep at it man
Thank you :). It takes a lot of time. I'm glad you notice.
I am so excited I found your channel after 25 years of guitar research online, your channel is a gem
Thank you!
"You'd have to buy a guitar for each key, which prolly wouldn't bother most guitarists anyway since we love buying lots of gear"
Best point here
Having the strings as low as possible without buzz and the neck as straight as possible (only minimal relief) helps with intonation...
The most groundbreaking development in guitar construction I’ve ever come across.
It’s interesting that you talk about your solution of using a vibrato to mask pitch inconsistencies - In studio work we often double track guitars or use subtle modulation like chorus, partly to make up for the guitar’s natural pitch inconsistencies, kind of in the same fashion!
Exactly the same idea!
You should never try to take away from the inconsistencies aka dynamics. Modern rock and metal sucks largely due to the studious having absolutely zero clue on what a great sound is.
We do this in classical guitar. On higher frets sometimes the notes sound a bit off so it is recommended to use vibrato on such notes.
@@Barbro247I mean but modern metal is sick though so idk what you’re on.
@@PhaythGaming modern thrash is killing it.
An A+ from me for this explanatory video. Finally someone that touch this topic. Excellent that you don't put a ton of EQs and compression for audio examples and let it as raw as possible.
Glad I could help!
What an absolute pleasure stumbling on a channel that is produced but not overly produced from an author who is clearly not an idiot. Subscribed and will definitely follow more content.
Thank you :)
This guy explains this so well, especially the human factor and perception of expectations of the next note and hearing one sound because you expected it, then listening back and it wasn’t actually what you expected.
Thank you!
There's something in that gentleman's voice that makes me wanna watch the whole video and I feel relaxed and comfortable at the time. Weird to say that
I'm so glad I found this channel. I discovered it when I came across the video about you giving up analog. I discovered it a bit too late to save me from these clunky tube amps that I can't bring myself to get rid of. But I found it just in time to watch this video and prevent me from investing in one of these instruments. The way you presented it definitely kept me from making yet another costly purchase that wouldn't really benefit me much.
The ability to adjust intonation on the fly is one of my favorite things about playing fretless bass. It’s very satisfying to find the perfect place to “sit” in a chord with other players.
Your narration is so concise. I love this topic as well. This is the most in depth examination anyone has posted on TT. Thank you!
Easy to spot in all examples. I have 3 TT neck guitars and can never go back. The only problem is when getting used to it, at my ears gotten so sensitive that I have to keep it in perfect tuning and even adjust how hard to press each string in different chords.
Impressive ability to communicate...Just Sayin'
What I find fascinating is that in test 3, the true temperament guitar seemed to me to break up the amp more because the frequencies were aligned better and thus they amplify each other. Thank you for this material. I was looking into TT for some time now. I laughed at the TT Freebird.
I'm really appreciating your videos! I get really frustrated and annoyed with 98% of presenters because the spend 90% of their time babbling useless verbal filler. They talk with the purpose of stretching out the run time of their videos, and could make their point in 10% of the time they actually use to do so!
You actually present useful, relevant information. You're a breath of fresh air, thank you! Your comments on the balance between the need for tonal center freedom and the human element is, I think, very accurate. Certainly our brains compensate for tuning that isn't totally precise. Personally, I think that without this ability the music we could stand to listen to, that we create, would be somewhat, and perhaps even quite different from what it is now.
You mention in this presentation that equal temperament is calculated for the 12 notes in an octave, which is true for the middle pitches, but not quite true as pitches go higher or lower. Orchestra musicians make slight adjustments to pitches as they play to make perfect intervals, thirds and sixths more in tune, while not giving up equal temperament as a whole. This is especially true of held chord tones. Some of these adjustments are done consciously, others are done automatically. In this way there's an element of 'true temperament' in all the intervals and chords that a professional orchestra plays.
I thought you might enjoy an excerpt of a document titled "The Equal Tempered Scale and Peculiarities of Piano Tuning" written by one Jim Campbell:
"When one measures a piano that has been tuned by a skilled tuner, something interesting will be discovered. The middle of the piano will be close to perfect, while somewhere about the second octave above middle C, the notes will gradually become sharper, until at the high C this sharpening may be as high as 20 to 30 cents! Also there will be some flattening of the notes in the lower octaves. Shown is a plot of actual measurements of a piano tuned by a skilled tuner, along with a curve resulting from the average of many such measurements.
(I can't upload a document or picture to a comment.)
This affect is known as the "stretching" of the upper and lower octaves. It is due to the fact that a string does not necessarily vibrate at perfect natural harmonics. The harmonics of a vibrating string tend to be sharp of the natural harmonic series. This becomes more pronounced as the string is made shorter or thicker. When the tuner is tuning octave intervals up the keyboard, they tune for the best sound, compromising the beat between the string fundamentals and the beat between the octave partial of the lower note to the fundamental of the upper.
This produces a slightly sharp octave interval between the two strings. This slight adjust accumulates towards the high and low end. If a piano is tuned to a perfect scale top to bottom, the beats produced between partials of the high strings clash. A piano tuned with the upper and lower octaves stretched just sounds better. The shape and degree of the stretch is dependent on the string configuration of the instrument. Pianos with longer bass string sections require less stretch in the lower end. In principal then, a piano could be fairly well tuned using a tuning indicator device, such as a Precision Strobe Tuner, and adjusting the device calibration accordingly across the keyboard. A further refinement of this method might be to develop and use different tuning curves for pianos of different construction. A simplification of the above method would be to tune the piano correctly up the keyboard to about E5. From this point up, progressively sharpen each note about .5 cent ending at C7 sharp about 30 cents. This two line curve fit can be readily set using a chromatic tuning indicator device and seems to result in a reasonably well sounding tuning. This is probably a good starting point for the beginning and amateur tuner. There are algorithms and software available which will calculate a temperament for a given piano based on inharmonicity measurements. There are also people who will say this can be done properly only by human ear. Unfortunately, this is a skill that seems to be falling into decline. Perhaps the best method for the amateur tuner of finding the best temperament of a given piano is to locate a skilled tuner who tunes by ear and have them tune the piano. The stretch could then be measured and recorded for future use. Of course, a student with patience and perseverance can learn to tune a piano properly using a single pitch reference and their ears. It is said this is a skill that can take years to develop. If the number of skilled piano technicians continues to decline, it is a skill that could become more and more valuable.
The goal of musical instrument adjustment and tuning is an instrument that sounds good. The qualitative definition of what sounds good has been being developed by musicians and instrument makers for thousands of years. Modern technology has provided the tools to make very accurate quantitative measurements of these qualities. But these tools are only tuning aids, alone they do not guarantee the goal of adjusting an instrument so that it sounds good. As we have seen, a piano tuned perfectly to an equal tempered chromatic scale will not sound as good as one that has been stretched somewhat in the upper and lower octaves. However, when these tools are used along with a bit of judgment based on knowledge of music, good results can be obtained."
I'll def check out the referenced video. Thank you so much for spending the time to explain some of this. I'll have to sit down and read it again a bit more carefully after a bit more research.
@@andrefludd Andre, I've put the PDF I quoted on my Google Drive.
drive.google.com/file/d/1PzHNLopujzUirgW8NsnAfaNgOXoudFYy/view?usp=share_link
It's like the 1995 wave keyboard cones the guitar & bass necks. 😅
I have had these burning questions for years.
Thank you SO MUCH for not only giving extremely detailed information but for being so clear with how you explain!
Earned yourself a subscriber 👌🏽👌🏽👌🏽👌🏽
Any time!
Great video, I didn't expect the "Devine Prank" problem that was the bane of Renaissance and Baroque music theorists' existence to show up, but you did a great job of explaining it! Fux would be proud!
Thank you :)
I can’t hear anything at all but I admire your commitment to clarity of analysis!
Thank you :)
What you mentioned in the "my thoughts" section is perfectly illustrated by non-fretted performances. When i did cello recitals there were many cases when even people who play a lot better than i ever did were clearly "off". We're talking un-intended "eastern music, 1/4 tone at the very least" off. But because the piece itself was very melodic and our brains can anticipate the direction of the melody & harmony it was absolutely fine. No one in the audience even noticed. Moreover, the TT guitar sounds very... un-natural to me. There is something jarring about the improved intonation, as paradoxical as it may sound. I could hear the TT easily in all your tests, but I can't say i particularly liked it. Especially not when other instruments (backing tracks) were involved. Thanks for the video, it was super interesting to watch!
back when i played classical guitar consistently, my teacher said that when you’re playing a solo piece, and there is a high point of important, he said to tune the string so that specific note is perfectly in-tune. it was an interesting tip.
This was incredible and stuff I've never gotten into before. Completely fascinating. The tests at the end were great, but as pleasing as the TT version sounded in almost every case, I couldn't help but think the other version sounded more typically guitar-like to me--slightly off and a bit more like how it would sound live in my mind. I don't think I'd ever be able to tell if TT is used or not if it's mixed in with a band. As always, your hard work shows through in each video.
Thanks for the support :)
Good to know that KDH is following you. Both great guitar channels.
Love his channel. So honest!
Used to watch KDH but he does nothing but complain.
I had a film on in the background and when you asked "is the true temperament system worth the expense?" Bill Murray replied "hell no!" 😅
He might be right hahaha
Nice presentation. The standard frets sounded better in almost every case to me. I think the guitar has bent my ear, lol.
I do think nearly as much could be done with setting up your intonation by summing or prioritizing which notes are more in tune, as opposed to defaulting to the 12th fret/ 1st harmonic checks. Once the first drum cracks and a cool breeze rolls in it’s all a balancing act anyway. Vibrato sounds yum.
That last part is super important
Andre, well constructed video with excellent content and academic polish.
Thank you!
Jesus dude this video slaps, great breakdown on what you're talking about, great vocabulary, stupidly well researched, easy sub
Great video Andre! Nicely done, taught me a lot :)
Thank you
I did Alan Limbricks Guitar Institute Degree with people like Shaun Baxter in London and have been playing both professionally and otherwise for 40+ years before my current profession. I stopped playing for a while as I am very sensitive to tuning and while the intonation is good as it gets with my 2002 Tom Anderson Hollow T classic, and baby Martin but it is not perfect and some days annoys me 🙄. I put the Martin into the shop and had a staggered bridge fitted which was a massive improvement.
Then, I played a Strandberg true temperament 6! it was like a revolution in my head.
Suddenly, I wanted to play again so, I am looking around for one that catches my eye and not sure which pick-up model to get as I play mostly melodic Jazz / Country / mild Rock / Blues. yeah, you talk too much BUT good and thorough review, thank you.
Possibly your best so far to my ears. I really enjoyed this, both content and format - highly appreciate the effort and dedication, thank you!
Thank you :)
This is a very good video to explain these frets and also to disambiguate between true temperament and just intonation
Love the deep dive into this topic. I've always wondered about how those squiggly frets would affect sound and playing. Thanks for this thoughtful (and thought-provoking) explanation and comparison of the TT vs standard necks!
REALLY appreciate th e first 6 minutes of this video. You really nailed the explanation of temperament as relevant to modern guitar playing, the analogies of Just James and Equal Emily were helpful, and I REALLY appreciate the explanation of the goal of the true temperament system. And I ABSOLUTELY hear the gently improved intonation in your first set of A/B samples, especially since I use a compressor for my youtube audio, and any "beating" or "warbling" or "pulsing" of slightly out-of-tune intervals becomes really really apparent.
Also I'm surprised how similar the Fishman and Suhr pickups sound to each other with the settings/hand techniques you use.
Lastly, I REALLY appreciate your comments about "audience/musician perception" and point out how important the emotional component of performance really can be. Extremely well-constructed video!!
Thank you! I pretty much sound exactly the same no matter the guitar or rig lol I think I subconsciously play slightly differently to sound like me after a couple seconds of hearing a new guitar.
@@andrefludd That makes a lot of sense for a musicain who spends a lot of time with the instrument. Then the tone comes from your body, not the guitar.
Brief tangent: reminds me of my drum teacher when we approached swing drumming. Ideally, "swing" comes from your body, not the sticks or the cymbal. If you want the gig, you want to be able to swing with fork on a napkin at a diner table. 🤣I tried to take that to heart.
This is so well explained I learned so much! Thank you for this 🙏🏽
Thank you :)
I only just barely passed the isolated chord test, but the difference was *super* obvious one you put it in the full band context
The tapping was magnificent ! Wow 🔥!
I did a lot of fake pedal steel guitar stuff on country gigs, and that thing of holding on to the whammy bar is a life saver in those situations.
Agreed!
This was great! Very intelligent rundown. I was doing the intonation on a guitar recently and looked up some stuff on you tube to see if anyone had any new suggestion and I still get suggestions dealing with intonation. I'm always retuning when changing key. It would drive me nuts to play in D and then not retune if I had to play in E. I've always wanted to try one of the guitars with the corrected frets. Nice explanation thanks for posting!
i learnt all this a while back, wish i had come here first, this is the clearest explanation i have heard.
Thanks for the support!
I really like your playing style.. I was expecting shreddy maybe fusion style. But it was really subtle, understated, and simply beautiful. So, I appreciate that more than anything else. Thanks for the music!
Thanks Sean :). I don’t think Shreddy stuff highlights these differences as well. Chords much more so
I think chords might be better to demonstrate these since you can hear whether or not the different notes are "in tune" with each other and whether or not the chords are more or less dissonant in a negative way
Or something like that
Wow! Thank you for such an in-depth and thorough explanation.
A= 440 is not a shorthand for equal temperament. It's just the pitch A is tuned to.
Otherwise, this is a far better explanation of "True Temperament" than I've seen from any other guitarist. I've heard some ridiculous claims from some guitarists like "every key is better in tune". That's impossible, as you explained.
I hate this company because they're spreading straight LIES about temperaments. From their website's FAQ:
"Is there any key that works better than others using TT?
No, all keys work together perfectly fine all over the fretboard. The Thidell Formula One temperament is the only temperament we now offer and is not to be confused with other temperaments we have offered in the past, like Meantone and True Temperament 12 tone equal etc."
Anyone paying attention can tell you what's wrong with this claim.
I think their products are cool, but I HATE the lies and misinformation they spout.
Also, it's worth noting that Thidell 1 (the temperament they use) is a VERY mild temperament. Only a few cents off from equal temperament for each note.
I do remember them offering a lot more options in the past but I haven't followed their product line closely.
@@andrefludd Yes, I think their past options created a lot of confusion, but they haven't corrected this in their messaging. Their past equal temperament option hypothetically would be accounting for the quirks of guitar, but keep it more in line with synths, while their past meantone offerings could allow better tuned chords in 8/12 keys, with 4 really out of tune keys. Very cool products with marketing that I hate. To be fair, it's a hard sell, but in a way they're overselling and underselling their own products at the same time. I personally like to use free software synths like Surge XT to play meantone temperaments on my keyboard.
@@andrefludd btw, check out "6th comma meantone". I've seen some strong arguments that this is the tuning Mozart used. It's also very close to a 12 note subset of 55 tone equal temperament, similar to how "quarter comma meantone" is a 12 note subset of 31 tone equal temperament. You seem like the kind of guy who would be interested in that kind of thing as much as I am.
Thank you- so well taught and enjoyable. Needed to hear it well condensed like u presented. 👍🎸
Awesome video ! In every comparison I prefer standard frets 100% of the time, maybe that's what my brain is used to.
What an entertaining analysis! I had no idea these sound so different. Didn't really enjoy the TT frets, even out of comparison. I'm probably so used to the regular frets that they sound more 3D in contrast.
Yea I get that
andre, i wish i had professors like you in college. you are one cool dude and a very good teacher. don't get me wrong i had great professors, basically the entire los angeles guitar quartet (look them up), and cats like richard smith, larry koons and joe diorio, but you would have made a helluva addition.
I really appreciate that, thank you! My first passion is teaching even before music.
All of the different guitars I have owned, the guitars I have liked least are the ones with the bridges squiggly. These guitars never tune right for me so how are they any different than the "True Temperament"? What was truly the best thing for me was learning how to set-up my guitar. I guess, sooner of later, I'll have to try one of these guitars.
I don't know who you are, or how you got in my feed, but my dear doctor, here is a new subscription for you. I like your cadence, and your explanations were easy to follow. Good Job.
Thank you :)
Yo this is some good shit. I was sold on you when you brought up how our brains interpret and correct variations in the notes we hear.
True Temperment Free Bird sent me, that was hilarious!
Great in depth video for us who havent experienced these yet.
Glad to help!
Hi Andre,
Just stumbled on your channel today. Quality stuff. Thanks!
Regarding the test: To be honest, I could tell on every single one of your tests, including the ones with backing. To me it sounds clearly cleaner/more in tune.
Perhaps is it because I come from a place of playing classical piano and keys since childhood - This has always bothered me slightly every since I picked up a guitar at age 14.
That being said, I am not sure I am a fan of the guitar itself and I have heard quite a bit on build quality at that price point.
I´m just about to make a purchase of a Strandberg with his system, you helped me a lot sir! Amazing videos as usual. Personally I found your tech tech talks top notch, I said it in the past and let me repeat it again: thank you!
I’m glad I could help!
Enjoyed Andre's presentation and playing immensely..! Subscribed!
If you ever see an old lute and the gut (tie-on) frets are spaced oddle or are at strange angles it's an attempt to do what this guitar is trying. Especially true for Baroque lute where, due to the tuning of the top courses, there are a TON of exposed thirds in most of the music. Thirds are where I notice the biggest change in equal temperament to just or other forms of intonation.
100%
Watched your videos before but this one made me subscribe, nice to hear someone talk about this somewhat in depth
Thanks for supporting :)
I can’t believe I just found this channel. This is my jam.
I'm still new. You didn't miss much :).
@@andrefludd well I’m here to stay!
When it comes to taping the frets, my best tip is to use yellow Frog Tape, overlap it, press in place, cut loose, press the edges back, fill any gaps (this gets less neccessary with practice), then wet the edges with a damp rag (it should leave no visible wetness).
2:36 - Lissajous patterns seem an excellent way of illustrating chords based on whole ratios. Seriously!
Best Video on the subject by far!
Hey, Andre! Killer video, dude. This is exactly the resource I wish I had way back when I was shopping around for a guitar with a TT fretboard. I ended up going with a Caprison Apple Horn 8. I absolutely love it, but it sure did cost a pretty penny, lol. I'd love to see you check out that guitar on video sometime if you ever get the opportunity! Look it up if you haven't seen one yet (it's Mattias Eklundh's signature guitar). Love your videos, man. I really hope you get out of TH-cam whatever it is you're aiming for, because you certainly deserve with all the time, money, and effort you clearly put into your content!
I appreciate your kind words :)
This was so good. Great work Andre
Thank you :)
The Best Explanation I've Ever Heard About this 'Everyones got the answer, until Reality shows up!' Subject! Wow' Thank You!
🖖🎸🔊🎼 _ edit, TT makes ones guitar sound like a Keyboard' Everythings almost 'to perfect' _ guitars are kinda like stringed 'Bag pipes' the 'Skewing' is part of the adaptive charm🎼✨ 'Love both!
Thanks for the run down, Professor. I’d been really curious about the true temperament Strandsberg and I really appreciate how exhaustive and accurate your reviews are.
Thank you :)
Hey all, great sounds, the true temperament is a very skillful design and sounds great.
The square of 2 are physical precise ratios on the freatboard and they are exact, it is the frequency and the relationship of the distance between A and C that you are using that throws it off, do not look for doubled numbers being the same everywhere, for their natural placement is the correct note that exhanges fo another frequency that fits the ration, this is how college went wrong and ill misunderstood mathmatics are incorrect. The math of it is precise, the ratios are precise and just, so are the all the whole number frequency, trust in the square root of two, make 432 as A and allow C to change freely. All the notes shall have variance, and every note shall be heard, and perfect pitch shall be achieved, it is based on the tree of life, where death hath not any power. Only the tree of the belief that there must also be evil have death.
Just wanted to say that within four seconds of clicking on your video, I could tell you’re a quality channel, and subscribed. Looking forward to seeing your channel grow 😊
Thank you :)
Thanks for all the explanations. Good job. Greetings from Spain.
Glad it was helpful!
I subscribed off the first video. Extremely concise lesson.
This is so informative to watch! Thank you so much for putting the time into this, it answered questions I didn't even think of, and I really appreciate it. :D
Thank you!
You make exceptional content, subbed. I've been thinking of doing TT when I start adding acoustic builds.. since I am focused on fingerstyle and solo players. This review has pushed me closer to doing so.
thank you for this. Great channel and great playing
Thank you :)
@@andrefludd Thank you, as someone new to YT creation this year, the work it takes to create this quality is impressive. Truly appreciate the effort and the inspiration. Binging your other vids lol. The Beato review is super informative from a players perspective
I would actually like to hear this kind of test with identical guitars but with the different fret styles. I think the tonal differences were enough to make one sound better to me than the other and subconsciously impacted my opinion on everything else about the sound.
Spot on man. I notice that if I look at the fret mods on a true temperament it compensates what I do with my hands or slight tuning variation depending the guitar.
I play guitar for fun, but my main instrument is bass guitar and double bass. In theory I could be playing the double bass in true temperament, but as I usually have guitar players with me I probably play to them. I feel that when I played orchestral I use slightly different notes, perhaps because the lead instrument is a violin, never really thought about it. I will now, thanks to you 😊
Thanks for the support :)
I slide between and bass and 6 string myself. I definitely took into consideration before I even saw this video that if I buy a TT guitar, wouldn't the bass need TT too? Any live second guitar too? We would need the entire fleet to TT exactly like each other right? This video provided many other reasons not to do it.
Great video! If you’re interested in using the vibrato system with true temperament, they do sell Stratocaster replacement necks with them (very high price and very long wait time though). Keep up the good content!
Thanks for sharing that!
Makes total sense. And I think really the main problem if you got a TT guitar is that everything else would sound kinda bad in comparison 😂. That could be a problem.
Personally I don’t own a TT guitar, however I do own a Strandberg Fanned Frets Boden Prog 7 and the vibrato makes it preferable to stick to one string gauge and one tuning. It’s also more tedious to tune especially when putting on new strings, but once it’s tuned and the bridge is setup properly the guitar stays mostly in tune and gets close to like a Piano sound. When compared to - say for example - my 7 string Ibanez with fixed bridge, then it’s a very different vibe and I’m not quite sure they pair well together in a song or mix. That Strandberg is of course even more radically different than my Telecaster.
The Tele being the first solid body guitar model ever made for mass production and Strandberg being a very modern type of instrument company.
There’s already a huge difference right there without even getting into the TT realm.
So I feel like if your main instrument is a TT guitar you might be putting yourself in a corner. Which can be fine, but not everybody can be Per Nilsson and your sound won’t be a good match for most bands if you try to do sessions or join other bands.
Great video. This is probably just 100% something I would have to experience for myself, but listening to the TH-cam samples I honestly preferred the non-TT 3 out of 5 times. I don't know if thats just because my ears have been trained to expect what a non-TT system provides or what, but I was surprised by that.
What I’m really interested in is, and I’ve heard some people imply it, the possibly increased sustain for natural harmonics by reducing the dissonance. And particularly if you’re able to hit harmonics that are traditionally more ‘fragile’ or difficult to get if even at all. I know you touched on sustain, but again I’m more specific to harmonics.
God it is such a head spinning experience to watch your content with only an introductory level of knowledge of music or guitar. It's all interesting, but it takes so many listens to grasp it. If you didn't have the non musician summary, I'd definitely just have to ask my musician partner to break it down for me.
Glad you enjoy it!
your parker on the left looks so fire idc how good ola designed your current workhorse lol. I got to level up my skillset before i acquire another guitar thanks for the inspiration.
Thanks for supporting :)
One guy that use tempered frets use a caparison 8 string guitar, I love him and his guitar camp. The sound he creates and the harmonics really sound awesome ( Mattias Eklundh) You can find him on TH-cam. Awesome sound you have there . Subscribed ;)
In my limited experience, the TT sound is more noticeable on chords higher up the neck, especially if they utilize more than 3 notes. I remember seeing a video of someone A/B testing a Berg with TT and a barebones Tele. In a vacuum, the TT sounded more 'precise' for lack of a better word, but the Tele just had a vibe to it that felt good. As a musician, you'll have people asking you questions like, "should I get a guitar with X feature?" and the response I always go with is: "See if you can try out a bunch of instruments in person. The one that feels like home when you pick it up and play is the one you should get."
Thanks for doing this! I just ordered a true temperment neck! And I can't tell the difference during the tests! Lol. Lucky they look cool! I'm going to be putting it on a variax, so it'll be cool to see the results with some of the open tunings and lower tunings etc.
This is one of your best videos. I would be interested in hearing the two guitars plus the “perfect” synthesized sound. I’m addition, with the 3 examples, listening to some of the common chord transitions played in songs.
That was fun. It doesn't really matter to me. If something sounds bad, I don't do that.
Story time: I met Ola in 2015 - he gave a presentation of strandberg and during it he said that he had always wondered why a lot of classical guitar players take breaks to tune in the middle of a piece, and I put my hand up and said “they’re changing key” - I guess it intrigued him and asked me to explain so I went into the beginnings of this, trying to explain why not even true temperament can get a guitar “perfectly in tune” (which he was claiming at the time (which is reasonable, of course)
but of course I couldn’t steal him for half an hour… thanks, this was a very clear video - well done!
My Tom Anderson Baritom has the Buzz Feiten system. I like to double rhythm guitar parts in the studio, often with different guitars. There's always some weirdness doubling the Baritom with a non-tempered guitar, but it’s a weirdness that I like. A subtle lushness that weaves in and out, without being in-your-face like a chorus effect.
Great test and all my questions answered!
Okay, you sir fried my brain, I thought I knew things about music but damn, I am pretty clueless. Awesome video and an awesome channel! Really underrated but will explode I'm sure of it. Cheers Andre!
I have a Fender Highway One Telecaster (USA) and it is the MOST used guitar in the entire studio. Being a traditional bridge, intonation was already an issue, but compensated saddles did a TON of work for that. True Temperament makes a Telecaster direct replacement, and it's been on my list for a couple years. I'm really impressed with the results you displayed here.
Thanks for the video!
Really cool, I especially like how you carefully hedged the big-brain theory with the notions of subjectivity and the human factor - whether intended or not, that alone just sort of allowed the valuable information to bypass the filter of my ego!
I kinda wish the soundbites of chords in the tests were slightly longer, though
Keep it up, doc!
What a cool explanation!!! I almost get the feeling that the true temperament people want to keep their exact fretting/unequal tuning a secret. Would it be accurate to say that true temperament is a well temperament system that compensates slightly for a guitar’s structural irregularities?
I could hear TT vs. 12-TET about 75% of the time in the tests. Major chords are more preferable in TT, minor can go either way imo
Now waiting for the "worst ever beato temperament best explanation ever, explained" video as these are clearly the keywords that attract views, going by the stats.
Thanks for STILL keeping it real André and good to see your channel still growing despite the absurdity of the TH-cam algorithms.
Thanks for the support!
1. Love the tapping
2. Great detail as always
But 3. At this rate of acquiring the fancier Bodens, I expect that you'll have a Fusion Titanium or DR Titanium by next week lol.
Yea this TH-cam channel’s business strategy isn’t the smartest 😅
@@andrefluddwell, maybe you’ll be sponsored someday! I just discovered your channel, and the quality is superb, immediately subscribed
Awesome video. Very informative! One thing I have noticed is the "D chord " is often horrible on shorter scarle guitars. For example, a Les Paul with almost "perfect" intonation will sound absolutely horrible while playing a d chord. A stratocaster on the other hand can be very poorly intonated, and the d sounds fine. I understand that the longer scale makes small fret placement errors less noticeable, but it seems disproportionate.
D sounds great on TT