As I write this, I am listening to my historic recording of Sergei Rachmaninov playing his own music with the Philadelphia Orchestra in the late 30's. My audiophile sound system reveals the limitations of the recording equipment of the day, but the genius and virtuosity of Rachmaninov comes through nonetheless. Rachmaninov and the recording engineer made the best use of what they had. In my opinion, there is no use of considering the Buzz Feiten system until other issues are taken care of. Even then, his system is only one of the answers out there. I found a website today from a dissatisfied user of the Buzz Feiten system. It even made his guitars worse. His final conclusion is the same as my earlier statement: you need to fix whatever is wrong with your guitar before trying the Feiten system. Here is the link: http://www.winds.org/~arazmus/buzzfeiten.htm
Since almost every guitar you find has one or more defects in it, it makes this guy's advice all the more noteworthy.
What's The "Buzz" About The Feiten System?
Moderator: jingle_jangle
I once stumbled on an article (on-line I suspect) about the sorts of things that pro-guitar techs had to deal with prior to a show. Backstage. Air conditioning? Lighting (the stage lights can be very hot). Room ambiance when unloading setting up, vs when the house is full and the temperature has changed. I know all of those factors could impact a finicky set-up.
Another factor he has to deal with now is players who get the Feiten system on their guitar and then expect to play with others who don't have it. Or a guest player that shows up with Feitenized guitars. Try keeping them all straightened out. And when they are straightened out, they still sound different. Are you going to modify a valuable vintage instrument to get it compatible with your modern Feitenized ones? It would be interesting to hear what owners of lots of valuable vintage guitars like Mike Campbell and Tom Petty think about that. My guess is they would pass on "Buzz sawing" their vintage axes at the alter of pitch perfection.
Hey - I'm not arguing in favor of this. I think there are a very small number of guitars with this mod - if I were to bet (based on nothing more than a totally uneducated gut feel) I would say the number is less than 1% of all guitars being played (or stored) anywhere on the planet.
That opinion doesn't alter the opinions of others.
One thing I was thinking relative to this topic has to do with the jealousy I feel when I read about the local, intellectual debate societies that guys like Ben Franklin and company belonged to in the 1700's...
It strikes me that THIS forum represents the modern day equivalent.
That opinion doesn't alter the opinions of others.
One thing I was thinking relative to this topic has to do with the jealousy I feel when I read about the local, intellectual debate societies that guys like Ben Franklin and company belonged to in the 1700's...
It strikes me that THIS forum represents the modern day equivalent.
Gary: I agree that there are very few Buzz Feiten modified instruments in the relative sense. I would argue that we give Buzz a break until all of the data is in. It seems as if it is far too early to rule his procedure in or out at this stage. I may give it a whirl on one of my instruments to see how it goes.
One difference between the Forum and the Ben Franklin Clubs of the 1700s, to which you refer, is that anyone can participate here.
I do grant you, however, that participation is not completely equal as not everyone has the good fortune to have a computer.
One difference between the Forum and the Ben Franklin Clubs of the 1700s, to which you refer, is that anyone can participate here.
I do grant you, however, that participation is not completely equal as not everyone has the good fortune to have a computer.
Life, as with music, often requires one to let go of the melody and listen to the rhythm
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Please join the Official RickResource Forum Facebook Page https://www.facebook.com/groups/379271585440277
I'll grant you that anyone can participate but the people who chose to participate are doing so for valid reasons and I suspect that Ben would have run just such a web page instead of gathering his "Junto" members in a tavern in 1727 for spirited debates on topics no doubt far ranging.
I'd also be willing to bet that at one point or another Franklin himself was probably asked to comment on the merits of the temperament debate that was going on in HIS day.
I'm not suggesting that Buzz's system is any better or worse than any of the other temperaments THAT I HAVE ALSO NEVER USED.
I'd also be willing to bet that at one point or another Franklin himself was probably asked to comment on the merits of the temperament debate that was going on in HIS day.
I'm not suggesting that Buzz's system is any better or worse than any of the other temperaments THAT I HAVE ALSO NEVER USED.
-
toneman
Gary; Let me put to you from a player's point of view(not that you're not a player but I've had so many big stage tuning nightmares..).
Nothing like having your guitars all tuned 5 minutes before you go on. The hall is nice and comfortable temp-wise. You get introduced and walk out and pickup your guitar and as soon as that overhead lighting truss and side truss's go on the stage temps rise 15-20 degrees and your guitar's tuning goes flat and you're playing out of tune.. Now, since I've been using Pyramid's since `95 that problem has greatly decreased but still..
You also run into the problems of air conditioning causing them to go sharp. what I always hope for is the A/C causes them to go a bit sharp and then between lighting and hand movement they'll go flat and be acutally in-tune after that..
As far as Buzz's system and the Earvana Nut's, etc. I have to agree with Phillip as the inherint design flaws in guitars would have to be corrected for them to work but....if that was done would you need Buzz's system or the Earvana?
I know T.P. and Mike Campbell are vintage nuts and would never do anything to an old guitar except re-string them and play them. I remember how much work it was just to get Tom to use Pyramid Gold flatwounds on his Ric 12-strings a few years ago. But, once he did, he absolutly loved them and won't use anything else on his 12-strings.
I look at it like this; if it's a new guitar I'll try new stuff like the Earvana and the TonePro's bridges. On any vintage guitar I'll only do it IF it's a totally reversable, non-evasive change. I do have the Earvana nut and TonePro's locking wraparound bridge on my `59 Gibson Melody Maker & the locking studs on my `59 L.P. Special. My other guitars I prefer to keep as they were from the factories!
Nothing like having your guitars all tuned 5 minutes before you go on. The hall is nice and comfortable temp-wise. You get introduced and walk out and pickup your guitar and as soon as that overhead lighting truss and side truss's go on the stage temps rise 15-20 degrees and your guitar's tuning goes flat and you're playing out of tune.. Now, since I've been using Pyramid's since `95 that problem has greatly decreased but still..
You also run into the problems of air conditioning causing them to go sharp. what I always hope for is the A/C causes them to go a bit sharp and then between lighting and hand movement they'll go flat and be acutally in-tune after that..
As far as Buzz's system and the Earvana Nut's, etc. I have to agree with Phillip as the inherint design flaws in guitars would have to be corrected for them to work but....if that was done would you need Buzz's system or the Earvana?
I know T.P. and Mike Campbell are vintage nuts and would never do anything to an old guitar except re-string them and play them. I remember how much work it was just to get Tom to use Pyramid Gold flatwounds on his Ric 12-strings a few years ago. But, once he did, he absolutly loved them and won't use anything else on his 12-strings.
I look at it like this; if it's a new guitar I'll try new stuff like the Earvana and the TonePro's bridges. On any vintage guitar I'll only do it IF it's a totally reversable, non-evasive change. I do have the Earvana nut and TonePro's locking wraparound bridge on my `59 Gibson Melody Maker & the locking studs on my `59 L.P. Special. My other guitars I prefer to keep as they were from the factories!