![]() ![]() ![]() With regards to mechanical parts they in general have long shelf lives that are only effected by the likes of oxidation, design changes and fashion. That's why an orchestra tunes to the Concertmaster's Violin. However, regardless of which fork was used, once an instrument was tuned to it, and the rest tuned to that instrument, there were no issues. The rest varied from 432 Hz to 444 Hz, a tiny difference I never thought I would notice, as I do not have even close to Perfect Pitch.īut I did notice, and if the instruments were tuned to different forks, they would not play nicely together. Using a frequency generator, I calibrated an e-tuner and verified one of the forks was 438 Hz. My only issue with tuning forks is this: I have 4 tuning forks, all labeled A440. I still like starting with an e-tuner, to get in range. I also noticed that some strings need to be tweaked, especially if the saddle isn't compensated. This works great if your intonation is dead on - the longer the scale, the easier. I've always used relative tuning - that is, get one string in tune (piano, keyboard, e-tuner, woodwind, fork - what ever) then match string sounds. I used a A440 tuning forks for years with guitars, and kinda lost them when I went to ukes. My thanks again to all who have supported this thread, please keep the ideas coming in. Mike Lynch also has a video up of tuning a Uke to its self, rather than risk busting an A string he assumes that it’s OK as is and tunes the rest of the Uke to it - seems to work quite well for solo use. ![]() For what it’s worth the fork in Wilfried’s picture is, I believe, a ball ended Wittner - K&M sell similar models. I notice that Wilfried tunes his C string to the E string and think that that will be a better route for me. Wilfied Welti has a useful section on tuning fork use in his site. The square tine forks might be higher ‘quality’ but practicality has a value too. When struck against any part of you round ones (apparently) hurt less than square ones do (I guess that on a square one you’ll sometimes inadvertently knock a corner, rather than a flat, against yourself). One tip that I picked up from somewhere is to use a round tine tuner. Whatever, there is much to learn from each and every source of information. I’m not sure about checking the C string from the A string, it works for him on his high quality instrument but I find it hard to believe that that method will be a ‘goer’ on a laminate Soprano. He also seems to use the unison method of plucking strings together. Jim D’Ville, in his video does show working up the fretboard for each string to check pitch and I can see that that would help protect against over tensioning a string. ![]()
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