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I was curious, how do you use one of those strobe tuners, with the spinning wheels?

I know that the lowest band is the fundamental, and the higher bands represent the overtones of the note, but what startegy do you employ when using that tuner?

Basically you want to stop the wheels (technically they will still be spinning, but they will appear to stop.) There should be arrows over the wheelpack pointing to flat and sharp. The wheels will appear to turn in the direction that you are out of tune; the slower they turn the closer you are to getting in tune.

I am sure someone can give you a better explanation, but this is a start to get you going.

At first I used to hate them, but the more you use them the more powerful a tool they become.

Are ALL the wheels supposed to stop simultaneously?

It depends on the model. If it has separate wheels and windows, then the wheel corresponding to the particular pitch is what should "appear" to stand still. If it has one wheel, and the pitch changed by turning a knob, then the different rings are the different octaves, and the whole thing should stand still. If it doesn't, for example if one ring is still and one of the higher ones wobbles, then overtones are out of tune.

These are best used by two people. The most effective way is to also have a pitch box to play the pitch desired before you play. The idea is for you to try your best to match the pitch and use the strobe to check your accuracy. The other person will play the pitch for you and watch the strobe to see how well you've done.

If you need to do it by yourself, then you must be very careful, since you will subconsciously "bend" the pitch to make the pattern stop. Which means you will not "really" be in tune and will not make the needed adjustments to your tuning slides. The best way to do it by yourself is to keep your eyes closed until you think you have matched the pitch and then quickly open your eyes and take a peek at the strobe. The longer your stare at the wheel the more you will bend the pitch to make it stop. But will you really remember to bend the pitch that way every time you play? You need to adjust your slides!

You could also use the strobe to check your pitch without a pitch box if you want to see where you are at while your embouchure is the most "comfortable". I like to tune my horn to the feel of my embouchure, making sure to adjust the tuning slides to put me as close to the correct pitch as possible. Then I just bend the pitches as needed to match the ensemble as I play the part. I find that when I tune this way, no note is "out-of-reach" and I can match the ensemble pretty well.

There is another school of thought entirely that says TO watch, and move the pitch. That way, when you are playing with an ensemble, and your ears tell you that you're out, you have practice moving up or down (whatever may be required), and not to expect the ensemble to come to YOU!

Bandmaster wrote:These are best used by two people. The most effective way is to also have a pitch box to play the pitch desired before you play. The idea is for you to try your best to match the pitch and use the strobe to check your accuracy. The other person will play the pitch for you and watch the strobe to see how well you've done.

If you need to do it by yourself, then you must be very careful, since you will subconsciously "bend" the pitch to make the pattern stop. Which means you will not "really" be in tune and will not make the needed adjustments to your tuning slides. The best way to do it by yourself is to keep your eyes closed until you think you have matched the pitch and then quickly open your eyes and take a peek at the strobe. The longer your stare at the wheel the more you will bend the pitch to make it stop. But will you really remember to bend the pitch that way every time you play? You need to adjust your slides!

You could also use the strobe to check your pitch without a pitch box if you want to see where you are at while your embouchure is the most "comfortable". I like to tune my horn to the feel of my embouchure, making sure to adjust the tuning slides to put me as close to the correct pitch as possible. Then I just bend the pitches as needed to match the ensemble as I play the part. I find that when I tune this way, no note is "out-of-reach" and I can match the ensemble pretty well.

Although you make it sound like a bad thing, I use this to aide in my practice.

When working on bending, I can turn on the auto adjustment and see how far i'm bending the pitches. When working on the upper register I can hear the pitch i need to play and see how close i am on the strobe.


It goes really well with the brass gym stuff I do.

djwesp wrote:Although you make it sound like a bad thing, I use this to aide in my practice.

When working on bending, I can turn on the auto adjustment and see how far i'm bending the pitches. When working on the upper register I can hear the pitch i need to play and see how close i am on the strobe.

It goes really well with the brass gym stuff I do.

Staring at the strobe is only a bad thing if you are trying to set your tuning slides to their optimum position. The practice use you state is a whole different thing and sounds like a very good use of the strobe.

Bandmaster wrote:

djwesp wrote:Although you make it sound like a bad thing, I use this to aide in my practice.

When working on bending, I can turn on the auto adjustment and see how far i'm bending the pitches. When working on the upper register I can hear the pitch i need to play and see how close i am on the strobe.

It goes really well with the brass gym stuff I do.

Staring at the strobe is only a bad thing if you are trying to set your tuning slides to their optimum position. The practice use you state is a whole different thing and sounds like a very good use of the strobe.

I know, I just don't want people to get the wrong idea... or not realize how versatile a strobe is.