Earvana opinions?

[lou]

Looking at the Earvana compensated tuning nut system. Supposed to do the same thing as the Buzz Feiten tuning system (well, almost) at a much lower cost and requires no mods to the guitar.

www.earvana.com/

Reviews look pretty encouraging, and for the price I should probably just buy it and try it out, but thought I'd throw it out here first- anyone using it?

Thanks
Lou

[Runewalker]

On the surface I thought also this sounded like a good idea, both Earvana and Buzz Feiten --- its that whole "compensated nut" theory.

However, I was talking to a luthier and he reminded me that once you fret a note you disable the compasating string lenth from that nut. Made sense to me. So in that light, the only thing the compensated nut affects is an open string.

Then what does it do? It adjustes the string length from the nut instead of just at the bridge. Ok if the compensated nut is disabled with fretted notes, and the compensation the nut device is to further shorten some strings, what difference does it make if you determine the string length from the bridge end or the nut end? In that light it is only for 6 notes of fixed but calibrated length.

Over time I have come to the conclusion that it is worth the effort to accurately, finely and patiently adjust the intonation. If the fret spacing dimensions are accurate you will obtain acceptable intonation up and down the frets.

However, one thing the Monte dude does with his Earvana system is that he also sends a "well tempered" tuning system, for adjusting string frequency by cents in one direction or another such that the relative string vibrations are perceived as being more intonated. This is an interesting approach and reflects that of piano tuners, where piano strings are adjusted slightly off the exact frequency of the note to achieve percieved intonation and balance.

There is a whole science about tempered tuning that is beyond my expertise. But the bottom line on compensated nuts is I can't figure out what difference they make on a freted note. And there are a lot more fretted notes than open notes. And, one step further, I can't figure out why it makes a difference to adjust string intonation length at the nut or the bridge or both. Length is length.

Just some ideas to ponder before you put down your hard earned cash. Monte's product is not expensive so it is not much of a risk.

One other side light, he sells a little swiss army knife style set of nut files. The larger ones (D, A, E) are serviceable but not great for more than an occasional adjustment. The small ones for the G, B, e are like little wires -- like too short dental floss (now you boys floss out there, don't your?) --- and nearly useless, especially the ones for B and e.



RW

[sumgai]

RW,

I am not a fan of compensated nuts, let's get that out in the open right off the bat. But you said some things that need addressing for those on the fence about this thing.

There is a whole science about tempered tuning that is beyond my expertise.

Yep, there sure is. Uh, a whole science, not a lack of your expertise. ;D Google is your friend here, I'll not go into it any further.

And, one step further, I can't figure out why it makes a difference to adjust string intonation length at the nut or the bridge or both. Length is length.

The underlying principle is that you adjust the intonation at both ends, thus changing the length, just like normal. However, now you've moved the entire string in relation to all of the frets, haven't you? So, if you made a string play correctly at the 1st or 2nd fret, and again at the 12th or 13th fret, then should it matter if you did that with only a bridge adjustment? No, in fact, re-positioning the string will make that job much harder, that's true.

So why go through this exercise at all? Because there's a nasty gotcha waiting for you, right over there in the wings..... what happens when you fret a string? You depress it, right? You deflect it away from a straight line. Sure, the amount of deflection is tiny, but it's there, and the effect on the string's tension can be heard! That's why open strings sound flat compared to other notes - they weren't depressed, which in turn increases the total string tension at the fret, and you can guess the direction that the frequency went. That's right, it went sharp. So we adjust the intonation for all the fretted notes, and hope the open notes are close enough. Whew!

And if we insert a nut that is offset in the correct direction, we theoretically reposition the string back to the necessary position in relation to the frets, thus making the guitar sound more like it's in tune, even on the open strings. Like I said at the beginning, a good theory. However, in practice...... fuggedaboutit. When you're dealing with a difference in ounces of string tension over the whole length, it's too hard to get that resting point (the breakover point, the fulcrum) at the exact correct location. And if you change strings, gauge, type, whatever.... Lowerd help you, you're gonna be starting all over.

I've got better things to do, and my personal theory is, if you are vastly out of tune on the open strings, then you need to replace the nut anyway. If you're only a tiny bit off, then stop choking the life out of those fretted notes! Ease up, and the whole thing will start sounding like you wanted it to in the first place. ;D

Did I over-lecture? (Again? )


sumgai

[dunkelfalke]

i didn't like that earvana nut, too fragile.

[UnklMickey]

Hey Guys!


you're all missing the point!


the Buzz Feiten nut is only the first step.

to do it right, you also need the new Buzz Feiten compensated fretboard


with indiviual compensation on every string-fret intersection

AND

carefully tone-selected fret alloys and layered tonewood fingerboard!



it's the ultimate in intonation AND tonal maximization.

[dunkelfalke]

yeah and don't forget the rear wing ;D

[sumgai]

unk,

Hey Guys!
you're all missing the point!

the Buzz Feiten nut is only the first step.

to do it right, you also need the new Buzz Feiten compensated fretboard

with indiviual compensation on every string-fret intersection

AND

carefully tone-selected fret alloys and layered tonewood fingerboard!

it's the ultimate in intonation AND tonal maximization.

Mama mia, I gotta have this! Where do I sign up?!

Oh, and don't get me started on strobe tuners, either Feiten's special unit, or in general.


sumgai