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I don't think that checks out. Your frets are evenly spaced, closer to equal temperament than anything else. So tuning your open strings to some variety of just intonation would put everything out of tune with each other....you'd have 6 different just intonation scales next to each other.*
There is a fundamental out of tune-ness on the first two frets of a guitar from the stretching of the string coming down from the nut, this is much worse in guitars with a regular nut, much less with zero frets (but not zero because the zero fret is often a little higher than the other frets).
For gypsy guitars the low hanging fruit would be designing a fully compensated bridge...I haven't seen that.
I've spent a fair amount of time dicking around with compensated nuts on classical and steel string guitars. I think it's mostly a waste of time. In general I find that there's a real variance between the notes when you play them repeatedly like + or - 3 cents or so. For me it was really hard to tell if I was actually getting close to my goal frequency. As much as I like to change things around, I think doing a really good job at the basic stuff here feels like enough.
The other thing is that after you tune it seems like your strings change enough after 5-10 minutes to make a lot of it kind of pointless. Maybe. I find it all pretty hard to track down.
*I think this is true but not entirely sure.
String choice, scale length, action (of each string), and neck relief all affect the pitch differently -- at each fret. Not to mention the player's attack.
I'm not sure which you think it doesn't check out...
if it's me thinking they may have designed this thing with some kind of just tuning in mind, yeah it's very much possible. The thing does a much better job than anything in the past so made that conclusion.
It it's tuning the guitar with open strings and then tweaking to make compromises, people do that all the time.
You probably meant the former. I'd still like to find out why is it that it's so much better than anything else I've tried...
I made a post on their forum asking about that. I doubt I'll get any reply. It seems super low activity forum and they made it pretty much impossible to simply email the company and ask a question.
So who's going to be the first to make a Selmer style guitar with staggered frets?
@paulmcevoy75 there was a guy here who made his own bridges. What he described doing is leaving the top flat and wide. Then he would use a small pieces of wire for each individual string to dial in the intonation like on the adjustable bridges, mark the locations and then shape the top edge according to that. I always wanted to make something like that.
If you try to make the D and F# just, you're only going to screw up some other thirds in some other chords. So ok maybe tweaking what the tuner suggested can make Coquette sound better, at the cost of making Dinette sound worse.
Equal temperament is the best compromise, assuming you want the deviations to be shared fairly between all keys/chords.
Mathematicians figured all this stuff out a long time ago, no need for AI generated hogwash..
What doesn't check out is using Just Intonation on equal tempered/chromatic music. People do all sorts of tuning tricks but usually they are to ameliorate the screwed up parts of a guitar. Playing jazz, the best thing you could hope to accomplish would be an instrument in equal temperament (like a piano). So tuning your open strings to things other than equally tempered notes is likely going to lead down a non helpful path.
My current feeling on it, I have thought other things in the past.
You could definitely do a tempered Selmer bridge, but if you didn't do it elegantly it could potentially add some weight where I wouldn't want it. I'd like to do it at some point I just haven't gotten around to it.
Best case scenario is all notes sound equally out of tune. Unless you are playing Indian music or something.
After a lot of futzing, I feel like my guitars play very well in tune by carefully setting the bridge and keeping the frets in good shape. At the moment that seems like enough.
Ok, so you're both in the same camp. Make it equal and be done. I make a compromise. I don't tune the root/third to be perfect. I end somewhere between the two points. It sounds less offensive to me that way. I know that a bunch of people do the same. Top pros included. Recently there was a thread with a video of some classical guy where he's describing how he tunes the guitar. Along the same way as what I do. So I know there's at another screwed up person out there. But it took him 15 minutes to go through explaining which compromises he's making.
This one
Alex Bishop is.
I’ve played it a few times and it’s awesome.
The thing is, if you get one key to sound really good, another key is going to sound super shitty. Just the weird way temperament works.
Classical guitar might be pretty different because a lot of that music is in guitar keys. Depending on the era you could probably get away with sweetening up some keys. And then maybe a little bending to get the weirder stuff.
James Taylor has a whole thing about sweetening his tunings. But also he's probably not playing a lot in E-flat.
You might dig this podcast
castguru.io/podcast/X68747470733a2f2f6170692e737562737461636b2e636f6d2f666565642f706f64636173742f313031373136342e727373/episode/2fcc8b2be5d250ce116fc1e6f451b18a
And the one after that "why are f sharp and d flat two different notes". He does a really good job of explaining it.
Not sure if that link will work but it's the Ethan Teaches You Music podcast
Love the aesthetic on those Bishop guitars. Especially the Kandinsky inspired ones. True art. Good to here it plays well too!