Mr Kite wrote:Bound to happen once you depart from equal temperament. You end up with some notes related by just temperament, others by equal temperament and others by the bastard child of the two. The latter are unlikely to appeal to the shell-like.
There was a video in the luthiers section of some kind of conference where one of the speakers was trying to sell a new fret spacing that someone had patented. His pitch began with tuning a fretted chord according to just temperament (without saying that's what he was doing) and then demonstrating that a fretted chord from a distant key then sounded totally out of tune, as if that showed the fret spacing was wrong.
I can't say I have experimented much with this, but the difficulty I always have with the idea is that you end up adjusting the tuning of one string for one note, when you are inevitably going to play lots of other notes on that same string, and when the note you were so concerned about - I guess it will normally be the third of the tonic chord - will pop up on other strings anyway.
Thanks for your explanation - I think in summary, the way we tune is a sort of compromise that sometimes lets us down or needs re-adjustment.
I would be interested to see if other people have a particular problem with the G chord (D shape) on fret seven that I mentioned, or if they could pick up their guitars and report back (also tune the fifth string to low G and the sixth to low D).
It is also worth noting that the tuning of the instrument is not always as elementary for even the professionals. I note that a number of Youtube videos from Ana Vidovic, Eliot Fisk and a few others, are met with comments about how the players' tuning was out and the performance was spoilt.