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Topic: Temperment Compensaters |
Danny Letz
From:
Old Glory,Texas, USA 79540
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Posted 22 Aug 2018 5:37 am |
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| I have temperament compensaters on strings 1 & 7 on E9. I use Peterson tuners sweetened tunings. What is the proper way to tune the compensaters? These are not return compensaters and I don’t need instruction for them. |
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Lane Gray
From:
Topeka, KS
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Posted 1 Sep 2018 8:51 am
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I'm not a fan of the concept, but I understand it and used to do it. Is the compensator on the A pedal, B pedal, or a knee? That's important.
What I'd recommend lacking that information is (assuming it's on the A pedal):
1) get a needle-based tuner to check the desired values after you tune by ear
2) tune 1 and 7 by ear to be beatless against 4, 5, 8 and 10 with the Es lowered. Make a note of this value, and adjust your tuning chart in your tuner to suit. This will be the open value
3) press the A and B pedals, and tune the 1st and 7th to be a beatless fifth against the A pedal's C#, note the value, then listen to it as you play it a little. Then retune it to be a beatless minor third against the B pedal's A, not this value. Play a little, see if you like it better than against the C#. Choose the one you like better, and adjust the F# of the pedals's chart to reflect that value.
If all that guff was hard to follow, give me a call at 816-206-0239
_________________
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects |
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Jack Stoner
From:
Kansas City, MO
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Posted 1 Sep 2018 9:17 am
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I don't have any of that style compensator.
But, as I understand them they go flat (cabinet drop) when certain pedal or knee lever is pushed. Thus with the pedal (or knee lever) that causes it to go flat is pushed, tune the compensator for the string to the Open tuning setting in the SE9 program. |
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Lane Gray
From:
Topeka, KS
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Posted 1 Sep 2018 9:32 am
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Temperament compensation is a different critter from cabinet drop compensators.
If you tune your F# to be a perfect 5th against the B strings, it'll be sharp against either the D string or the C# of the B string, A pedal (and noticeably against the A of the 6th string, B pedal).
It's usually compensated on either the A or B pedal.
I'm glad I went away from those.
_________________
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects |
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Ian Rae
From:
Redditch, England
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Posted 2 Sep 2018 1:13 pm
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On my uni, I tune string 7 with 5 and lowered 4 & 8 to make the B chord, which is essential for B6 playing.
When I press pedal A or C, string 7 lowers a fraction to give F#m with pedal B, which I use less but can do so without fear.
It's simple and it works. What's not to like? Why would you have it then ditch it?
_________________
Make sleeping dogs tell the truth!
Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs |
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Lane Gray
From:
Topeka, KS
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Posted 2 Sep 2018 6:09 pm
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Because I started going down a rabbit hole of truing every chord. Then I read where some guy named Emmons had gone back to ET and was still in tune.
And a B3 sounds good to me, as does a piano or a Rhodes.
And it just sounded simpler.
_________________
2 pedal steels, a lapStrat, and an 8-string Dobro (and 3 ukes)
More amps than guitars, and not many effects |
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Ian Rae
From:
Redditch, England
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Posted 2 Sep 2018 11:53 pm
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Happy bunny here. ET for playing out? Maybe. For solitary practice? Rather eat glass.
It's the trombonist in me. If I can hear beats my instinct tells me I'm out and I need to correct. What drew me to the pedal steel in the first place is its sonority. To me a piano sounds like a bag of nails and I have no urge to copy one. We tolerate them because they have a rapid decay which doesn't rub your nose in the dirt. But on the steel you want to maximize the sustain, not the pain.
Not picking a fight with Lane - he knows plenty 
_________________
Make sleeping dogs tell the truth!
Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs |
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Danny Letz
From:
Old Glory,Texas, USA 79540
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Posted 4 Sep 2018 5:07 pm
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| Lane, without getting it out of the case to be sure, on the Hybrid it appears the compensater on the 7th string is activated on the A pedal shaft and the one on string 1 is activated by the B pedal shaft. My D10 is not at home right now to check, but I’m sure it’s on pedal shafts too. I had a JCH one time that I could feel the compensater pick up on the pedal and I couldn’t go that. I don’t feel it on the Zums. |
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Damir Besic
From:
Nashville,TN.
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Posted 9 Sep 2018 3:55 am
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| Lane Gray wrote: |
Because I started going down a rabbit hole of truing every chord. Then I read where some guy named Emmons had gone back to ET and was still in tune.
And a B3 sounds good to me, as does a piano or a Rhodes.
And it just sounded simpler. |
of course... been tuning everything 440 my whole life, and didn’t even know I was playing out of tune until I joined the forum 🤣 ...
_________________
www.steelguitarsonline.com |
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Donny Hinson
From:
Glen Burnie, Md. U.S.A.
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Posted 9 Sep 2018 5:28 pm
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| Tune the compensators so that strings 1 & 7 sound in tune with everything else when A & B are down. When you have them where they sound in tune, then you can note what their offsets are on the Peterson. |
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Bob Russell
From:
Virginia, USA
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Posted 10 Sep 2018 12:26 pm
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| Damir Besic wrote: |
| Lane Gray wrote: |
Because I started going down a rabbit hole of truing every chord. Then I read where some guy named Emmons had gone back to ET and was still in tune.
And a B3 sounds good to me, as does a piano or a Rhodes.
And it just sounded simpler. |
of course... been tuning everything 440 my whole life, and didn’t even know I was playing out of tune until I joined the forum 🤣 ... |
_________________
Lots of stringy things, many of them slidey. |
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