Greg wrote:Does anyone use a Peterson strobe tuner regularly? Why do you use that tuner rather than a cheaper digital tuner? What are the advantages?
There is one at our band's rehearsal facility. The way I use it, a cheapie digital tuner would do just as well.
But the strobe tuner will tell you how well all the harmonics are tuned, and even provide a way to estimate their pitch. I don't know how useful that is in practice but I would still like to find one cheap enough to buy just for play.
Rick "who appreciates interesting analog stuff" Denney
A generation ago, of course, the Peterson was the state of the art. I remember even seeing pipe organ techs use one to set the temperament bearings. But now, my little Korg digital handheld beats the dickens out of all of them.
Moreover, ever since getting one, as we do the warmup scale at community band, I make sure and hold mine up near the bell, as much for the director's benefit of seeing it as actual use to make sure I'm at concert pitch, and ever since I started doing that, he has not bothered our section with tuning in general, only on a note here and there that some members of the section do not bother to compensate until he points out how out of tune they are.
Be aware that the pictured tuner is NOT a strobe tuner, in the traditional sense. I bought one thinking it was, but found that the strobe-like visual, is cosmetic only.
If you are considering the purchase of one, check it out carefully!
tuben wrote:
iiipopes wrote:A generation ago, of course, the Peterson was the state of the art. I remember even seeing pipe organ techs use one to set the temperament bearings. But now, my little Korg digital handheld beats the dickens out of all of them.
This generation of Peterson tuners are quite good. They store multiple temperaments (good for me), but I think the better feature is that they can produce pitch from 32' C to c6 of a 1' stop. (bloody high) All this as well as having a strobe feature built in.
They are expensive, but the fact they will produce a tone is good training for the player in drone playing. (Helps to train the ear to lock in fifths, major thirds, etc....)
The strobe visual is not cosmetic, it actually does work. I use mine quite a bit for tuning exceptionally loud stops.
Actually Robert, in a way it is cosmetic. According to Peterson, it does emulate a strobe, but the wheel only shows the fundamental pitch. If you want to have seperate rings of the wheel to show each of the overtones as well, you will need to purchase one of their true strobes, not one their "virtual" strobes.
Bob1062 wrote:
That's all well and good, but if the group is not at 440 (which I assume you have your tuner set to ), then it doesn't matter if you perfectly at 440 (3rd's and 5th's and all that excepted).
If you're not in sync (what a horrible phrase, it's been permanently soiled... oh well...) with the rest of the group, it doesn't matter if you're "in tune" or not.
Excellent observation, Bob. I believe tuners have their place, but it should be quite obvious that using one's ear is where it's at. I have yet to grasp the idea of having a tuner attached to the instrument, and I know some top-level players who do so. I believe in using the tuner to help the ensemble stay relatively true to A-440. It is also useful as a tool to periodically check one's instrument out to be sure all pitches are as close to being in tune(relative to the horn) as is possible.
And Bob, I must apologize for agreeing with you this once.
iiipopes wrote:
Moreover, ever since getting one, as we do the warmup scale at community band, I make sure and hold mine up near the bell, as much for the director's benefit of seeing it as actual use to make sure I'm at concert pitch, and ever since I started doing that, he has not bothered our section with tuning in general, only on a note here and there that some members of the section do not bother to compensate until he points out how out of tune they are.
That's all well and good, but if the group is not at 440 (which I assume you have your tuner set to ), then it doesn't matter if you perfectly at 440 (3rd's and 5th's and all that excepted).
If you're not in sync (what a horrible phrase, it's been permanently soiled... oh well...) with the rest of the group, it doesn't matter if you're "in tune" or not.
I couldn't care less if the group doesn't lock in at 440, as long as they are consistent with each other, my horn can play at whatever setting it is (mine is kinda sharp, not sure if it is high pitch though), and I can figure it out right quick.
Give it up. Why do you think I'd make a deal out of the tuner if it wasn't an issue. He makes the oboe & 1st clarinet lock in together at A=440, and throughout rehearsal keeps checking to make sure there is no pitch creep, and damn well lets us know when there is.
), then it doesn't matter if you perfectly at 440 (3rd's and 5th's and all that excepted).