The early electronic tuners, like the Conn strobes, used tubes and cost hundreds (even thousands if you wanted the big unit that showed all of the pitches). These units converted the varying voltages from a microphone to flashes of light in gas tube. When the spinning translucent tuning wheel was placed in front of the flashing light, the familiar “strobe” pattern would indicate flat or sharp. The larger unit nearly required a truck to move it around.

I remember my first electronic tuner. It cost several hundred dollars, but I was excited to have a portable tuning device. Since I played guitar and trombone, professionally, it was valuable to have a quality tuning device. Before the advent of electronic tuners, guitar players kept tuning “up”. If they went out of tune, they tuned “up”. It drove me crazy, because combo pitch was a moving target. I always insisted on playing in groups with keyboard players, because those instruments provided a solid reference.

Now for around $20.00 to $30.00, students can have a high quality electronic tuning device. As a teacher of music for over 30 years, I have learned that people learn to hear certain pitch distortions on their instrument as being “correct”. I have sat next to trumpet players who hear everything sharp as being correct, and played with low brass players who accepted the construction problems inherent in their instruments. They accepted the faulty intonation and “learned” those pitches, incorrectly. The electronic tuners will solve this.

As soon as the instrument and the player is warmed-up, turn on the tuner. Set-up the horn correctly and check problem notes. Keep the tuner handy during the practice session. Understand that tuning is a “learned” process, and the tuners will set you on the right course. I know that playing “in tune” is playing “in tune” with an ensemble. But, tuners do allow for standardization and help to eliminate the serious tuning distortions that befall some beginning instrumentalists.

Buy a Korg CA-30. It has a needle that is calibrated in “cents”. Since 100 cents equals a semitone or musical half step, musicians can get an idea how high or low they are. Two red LED’s on either side a green LED show when the pitch is flat or sharp. The green LED lights when the pitch is correct. (Great in dimly lit rooms). The unit utilizes “auto-sensing” and locks onto the strongest tone. There is no need to spin a dial to the correct pitch. There is a 1/4 inch phone plug input for electric guitars or a remote microphone. This input is an option, however, because the built-in microphone is ample for most applications.

When the Korg CA-30 is first turned on, it is calibrated to A=440, the international pitch standard. There is a calibration adjustment, so the user can change the reference pitch and resulting needle display. The reference pitch is displayed in the window. Two audible tones (A or Bb) are available. Sounding through the built-in speaker, these are reference pitches for audible tuning. The unit is very compact and will fit in the instrument case.

The Korg-CA30 is a winner, and I recommend it to all of my students. I can’t believe that anyone would try to study music without having a tuner like this. In my opinion (formed after 30+ years of teaching), a Korg CA-30 tuner and a metronome should be sold with every instrument as part of the accessory kit. Pitch and time are two essential elements of music. Modern electronics has provided us with these quality accessories at an affordable price. The following description is from Musician’s Friend. The Buy Now link takes you to their online store.

Korg CA-30 Chromatic Tuner The Korg CA-30 Chromatic Tuner gives you a high-precision LCD needle-type meter. Wide range of pitch detection covers C1-C8. Calibration function lets you specify concert pitch. Built-in high-sensitivity mic. Produces reference tone on internal speaker and has marks for pure major thirds and minor thirds. . Auto power off. Low draw gets up to 100 hours of battery life in continuous use. Wide Range of Pitch Detection This compact chromatic tuner supports a broad range of C1 (32.70 Hz)-C8 (4186.01 Hz) allowing speedy and high-precision tuning of wind string keyboard and other instruments. This tuner is ideal for tuning even low-register notes containing numerous overtones that are often difficult to tune. A high-sensitivity mic is built-in allowing easy and accurate tuning of acoustic instruments such as ukuleles. A separately sold CM-100 contact mic can also be used to send the vibrations directly to the tuner for even more accurate tuning.Ultra-compact body with a “Tilt Slit” Although the CA-30 is small thin and light don’t let its pocket-sized body fool you. The CA-30 packs the functionality needed for tuning a wide range of instruments. From studio to stage tuning is easy and convenient. The back of the unit includes a unique arc-shaped “tilt slit” that lets you insert a plastic card for use as a handy stand.High-precision LCD Meter The meter section uses a LCD needle combining the accuracy of an LCD with the easy visibility of a needle and providing a stable display. Additional visual feedback is provided by LEDs that indicate pitch deviation.Sound Out - Internal Speaker Provides a Reference Pitch In addition to visual tuning via meter the CA-30 can play reference pitches from its internal speaker (Sound Out) for tuning by ear. Each press of the Sound switch will cycle through the A4-Bb4 notes commonly used for tuning wind instruments. Or you can hold down the Sound switch to change the cycle to the semitone intervals from C4 through C5 (one octave) allowing reference pitches for any instrument to be sounded quickly.Calibration Function The Calibration function (410-480 Hz) supports a wide range of standard pitches and can be adjusted in 1 Hz steps for accurate and flexible tuning to any song or key. Thanks to the Memory Backup function the Calibration and reference pitch are remembered even when the power is turned off. (However these settings will be initialized when the batteries are replaced.)Auto Power Off Function If you leave the unit powered-on for 20 minutes without performing any operation the Auto Power Off function will turn the power off automatically avoiding unnecessary battery consumption.Approximately 100 hours of Continuous Use Low-power consumption design allows an amazing 100 hours (approximate) of continuous battery life (A4 continuous input Meter mode zinc-carbon batteries).

Several second hand or discounted units are available on Ebay. The following links will take you there.

When I started playing guitar (in about the fourth grade), my father bought me a $20.00 guitar at a discount store. The instrument was a poor instrument in many respects, but my drive was so strong that I taught myself how to play a few chords and strum to a few songs. What made the instrument poor, was the “action”. The strings were so far off of the fingerboard, that my fingers actually bled from the cuts. Had the instrument had nylon strings, that would not have mattered. But, it was strung with heavy gauge steel strings. After I demonstrated the resolve to play, he bought me a Gibson LG-1.

So my first suggestion in the selection of a beginning instrument is to make sure the instrument’s action is set fairly low. More expensive guitars allow for action adjustments, though with some acoustic instruments, the only way to adjust the action is to file the bridge saddle (the bone, plastic, or metal string contact point on the bridge) or nut (mounted at the end of the headpiece next to the neck shaft). The strings can be quite low to the fingerboard, as long as they don’t buzz. Also, consider light gauge strings or even nylon strings (like those on classical guitars.) Once the fingers toughen and the muscles strengthen, it is fine to “up” the string gauge. Starting on lighter gauge strings will avoid the possibility of muscle damage and allow for a gradual callous buildup on the finger tips.

The next area of concern relates to pitch and tuning. If an instrument does not play in tune, or if it does not hold pitch, it is a big problem. Not only is it a musical issue, it is a developmental issue. Students need to form correct pitch concepts from the start, and a poor instrument might lead to a poor perception of pitch, because we learn to hear “incorrect” as “correct” on all instruments, if we play them long enough. (That is why I advocate an electronic tuner to be used daily for all instrumentalists. Tuners like the Korg CA-30 can be used for all instruments.)

Guitar pitch is determined by the correct construction of the instrument and the “layout” of the fret board. If the bridge is not set perfectly, the scale (fret distances) do not work out mathematically. The instrument will play out of tune, progressively. A simple check of correct bridge placement, is to locate the tip of the finger right over (slightly behind to compensate for the sharpening effect of depressing the string) the 12th fret. (This should be the midpoint in the string’s length.) If you lightly touch the string, the harmonic (higher pinging sound) will resonate. You might have to move the finger, fractionally, to locate this harmonic point. When the string is depressed, the same pitch should sound at the 12 fret. (Note that there is a slight sharpening effect as the string is depressed. Luthiers provide for this compensation factor when the fret distances are calculated. )

If the two pitches do not compare, the bridge is set, incorrectly, or the fret distances were poorly contrived. That is why the “tune-o-matic” bridge is so great. The “saddles” can be slid in or out to tune the individual strings. The geometry of string size relative to the distance of depression, logically indicates some slight variations in this tuning process. This is why you will note a slight angle of the saddle on the bridge of quality guitars. If even a “cheap” guitar fails this initial test, I set it aside.

“Sight” the neck by looking down the edge of the fingerboard. An excessive bow inward is a problem. Truss rods are installed in some guitars to adjust the neck, slightly. I have cheap “import” electric whose neck will bend in and out as I play it. It is a nightmare to keep in tune. It is like a slide trombone for guitar players–just pull the neck or push it to get the pitch. Obviously, this is not a quality instrument, though the scale is correct and the action is OK.

The tuning machines installed on the headpiece should operate, smoothly, and hold. If the strings are “strung” properly, the ”tuners” should not slip. Some tuning machine sets cost more than many guitars. (Like the Grover Imperial Gold tuners on my Custom Gibson SJ-200. They are fantastic.) Tuners should be considered in buying any guitar. Not all tuning machines are the same.

Once construction attributes are verified, generally, then play the instrument. What I do is to tune the instrument, beginning with a tuner. First, gently pull the strings to slightly stretch them. Go through the instrument several times, because increased tension will change the stresses on the wood. Once tuned, sight the instrument again and note any changes in its structure. Well-built gutars will hold up.

Play a variety of chord types in various registers comparing the quality. This might require some fine tuning. I check octaves on the various string sets to make sure the relationships are good. Tuning is always a compromise, and the science of tuning is not exact, but a poor instrument will let you know its quality right away. Be aware that It is logical to want to hear the 3rd of major chords slightly lower, but equal temperament will not allow that. (There is an advantage to non-fretted string instruments and wind instruments in this regard.) So it is correct to keep using the tuner. After playing for a while, check the tuning again, and retune. Some new instruments and new strings take a while to ”settle in”, but watch out for wide distortions caused by mechanical problems like slipping tuning machines or increasing bowing of the strings. Older worn out strings do not tune well, so make sure the strings are in good shape.

Once you have verified that the instrument is functioning, mechanically, and plays in tune, compare the sound with other guitars. Understand that larger acoustic instruments will enhance the low frequencies. Often, larger instruments seem to play a little better in tune, because they emphasize the low to mid frequencies. (It is a fact in the science of sound that the lower partials line up better.) Then compare the playability, tone, and general “feel” of the instrument. Are the frets nicely finished, or do they cut into your hands? Is the neck binding sharp or smooth? Many attributes of construction contribute to the quality of tone in acoustic guitars. The joining of parts in places that you can’t see, provide for efficient transmission of sound. Mechanically, guitars must withstand the stresses of string tension without distorting.

The final selection of a quality instrument often comes down to how much one can afford for what features. In my opinion, the musical aspects of tuning, tone, and playability are most important. As a long term member of the teaching profession, I am often amused when musicians who don’t practice much buy the latest and greatest instruments. In my opinion these individuals would do better if they played on a lesser instrument and took a few lessons while practicing more. That being said, I don’t think that the playing of poor instruments is advisable. The quality of sound, ease of playing, and proper tuning of a good instrument, will encourage rather than discourage the learning of music.  

His music is always interesting as he seeks a “non-formula” viewpoint within his traditional “pantonal” language. His background as a commercial writer provides a wide viewpoint, but his music is never commercial. The compositions of John Moss are always musically sound and compositionally well-crafted.

Hal Leonard has released a CD, entitled “The Music of John Moss”. It is a quality reference recording for band directors and students alike.

Topics include everything from scale sheets, audition forms, and articles to workshop materials. Check out the Music Educator Materials page and the Teaching & Learning Aids page for the latest materials.

Gibson did not skimp on the extras. The tuners are superior Grover Imperial tuners. The instrument holds pitch as well as any guitar I have played. A Fishman Matrix pickup is factory installed and you wouldn’t know it by looking. The classic design is maintained and the application of the instrument is improved upon with modern electronics. With this amazing technology, the instrument maintains a solid acoustic sound when it is plugged in, but the pickup does not pickup anything but the guitar. 

The history of the SJ-200 can be traced back to the 1930’s, when cowboy star Ray Whitley worked with Gibson designers in Kalamazoo. Ray wanted a guitar that was suited to country music performance and desired an instrument that was big and bassy. Through the evolution of several models, by the late 1930’s the Super Jumbo 200 was produced and was described by Gibson as ”King of the Flat-Top Guitars.” Beginning in the 1940’s, the SJ-200 continued its evolution. Changes included a rosewood fingering board, improved construction and bracing to improve the bass, maple body, and the  ”moustache” bridge with a cutout. Modern designs (like mine) have included an electronic pick-up, Grover Imperial Tuners, gold plating, and alternative woods - like the beautiful KOA.

I started my Gibson attachment with the LG1; a guitar I played in junior high and high school. During my early “gig” days, I used the LG1 with a Rowe DeArmond pickup (alla Gabor  Szabo). I purchased a used Gibson 335 Red Sunburst Electric around 1970. Playing in commercial bands, the 335 provided the versatility to play a wide variety of music. I acquired my ”dream” electric guitar in 1982. I bought a Gibson 175. This is the guitar I saw in ”the window” when I was a little kid, but could never afford to buy it. I love it for jazz and its classic “archtop electric” design fits the bill very well. My Gibson experiences include the Les Paul and other Gibson designs. I do own a couple of “non-Gibson” guitars (one for classical and another for a solid body sound), but when I want a stand alone steel acoustic sound, the SJ-200 is my guitar of choice.

Artists who performed on the SJ-200 go back to the Country stars. I have a picture of Gene Autrey playing an SJ-200. Elvis Presley, as well, played the SJ-200 and an early photo of him shows the classic Gibson in his hands. During the “blues boom” of the 1960’s, artists like guitarist Gary Davis played on the J-200. The instrument looks country, but it does play everything. The acoustic design is large, so the tonal spectrum is especially sweet in the low range. Truly, it is the “King of the Flat-Top Gibson Guitars”.

“Troubadour’s” material is equal to that found on the “George Strait 50 Number Ones” and “George Strait 22 More Hits” CD releases and touches upon that known array of country subjects. “Troubadour” presents a couple of duets. Most notable is “House of Cash”, where Strait teams up with Patty Loveless to pay honor to Johnny Cash and June Carter Cash. The tune has some interesting twists; almost a Cajun sound, at times. ”Brothers of the Highway” is a catchy trucker song and “House With No Doors” tells the classic country tearful tale of lost love. ”It Was Me” is a sensitive and beautiful ballad (one of the best tunes on the CD) and on a par with “I Cross My Heart” or “The Chair” from earlier George Strait releases. ”West Texas Town” establishes that Texas identity, while “If Heartaches Were Horses” puts us back on the range. “I Saw God Today” touches on faith-based lyrics, much like “Love Without End, Amen” or the beautiful “The Best Day” -both from earlier releases. Lyrics always tell a story and are never offensive.

Musically, George Strait is a joy to listen. His vocal style continues to be musical, sensitive, yes stylized–but artfully so. The steel guitar contributions (Paul Franklin on this round) are always terrific and the Violin (Fiddle-Stuart Duncan) capture the required mood of many tunes. The several guitarists (Steve Gibson, Brent Mason, Mac McAnally) fit into the mix tastefully. The rhythm section is rounded out with Drums (Eddie Bayers), Bass (Glenn Worf), Piano (Matt Rollings) and contributions on B-3 (Steve Nathan). Production credits credit the mix to Chuck Ainlay and Jim Cooley. The mixes sound great, equally, on the car stereo and on the home system.

George Strait with his talented musicians in and out of the studio and coupled with superlative production, arranging and final mixes, sets the benchmark for country music recording. “Troubadour” is a winner.

Elvis Presley, Sam Phillips, and Tom Parker converged their talents at a place ripe with a diversity of music and culture. People were often separated, but somehow joined by the distinctions of race and culture. The 1950’s were a time of emerging communication and technology. Pulling together the elements of Gospel, Country, Rhythm and Blues, and while blending the cultures of the South’s African American music with their own, Elvis Presley and Sam Phillips forged a new sound, a new feel, and a unique presentation through the person of Elvis. Through the genious promotions of Colonel Tom Parker and his vision to anticipate trends, the world phenomenon known as “Elvis” is now world musical and cultural history.

A sensitive person to be sure, Elvis was not ”read” correctly during hs time. His earliest appearances on Television avoided his “gyrations” because they were deemed “obscene” by the standards of the day. As Elvis continued to move to the music, and after getting to know him, Ed Sullivan told the world that he was a “real decent, fine boy.” Elvis spent two years in the U.S. Army as a “regular” guy, avoiding offers to serve under “star” status. Though much of the “British Invasion” of the 1960’s could trace its Rock & Roll roots to Elvis, many gave limited lip service to his talent, though he continued to produce millions through records and films. Some factions in the 60’s were suspect of Elvis’ originality, because his music definitely had African American musical influences born of his Mississippi and Memphis roots. Elvis was a product of the south, mixed with that culture, and was formed by it. He was, even to the extent of pre-fame dress, a part of it and embraced it. All Americans can embrace Elvis–his music is a melting pot of all of us. It is striking to note the range of music that influenced him. Even opera recordings of Mario Lanza are found in his music room at Graceleand. The Elvis hit, “It’s Now or Never,” was made after his army service in Germany, and is a popularization of the 1898 Italian song “O Sole Mio” (music by Eduardo di Capua and lyrics by Giovanni Capurro). Previously, it was sung by opera stars Enrico Caruso and Maria Lanza. Elvis Presley enjoyed broad appeal because he loved all types of music. Uniquely, he blended all of these elements into his performances.

I admire Elvis Presley most as one who performed music from all genres. While Colonel Tom Parker directed his career, Elvis contolled the production of his music. He did not “pigeon hole” types of music, but presented all types in his own style. He loved music and valued all of it for its unique attributes. Believed to be the culminating performance of his entire career, the 1973 performance “Elvis, Aloha from Hawaii” features the range of music from traditional Elvis, Detroit rock, film music, Gospel, Latin, American traditional, country, etc. This TV broadcast, now on DVD, is believed to be the most viewed television program, worldwide. It was viewed in nearly forty countries by over one billion people. It marks the height of the Elvis Presley performance “comeback” and shows the diversity, sensitivity, and artistry of this world giant in music.

Graceland features a serene and beautiful reflection garden where Elvis now rests. Sadly, Elvis died in 1977 at the young age of 42. The details of his passing are scripted, carefully, in the several biographies that are available. Suffice it to say, Elvis battled health issues and consumed many prescription medications. The combination of many drugs in a culture that provided him with ready access and his weakened heart, likely combined in tragedy. As with all movements in the history of music, it is only through the perspective of time that artists are placed in context. So it is with Elvis. 

Graceland emphasizes his traditional love and support of family, a generosity to others that knew no bounds. His professional trophies rest there. Walls of gold records and numerous awards show the scope of his talent. More recently, BMG made a presentation acknowledging the role of Elvis Presley in the history of music. Graceland amplifies that history. His private jets, building full of cars (many gifts to others), and shops selling his commercialized image all reflect the opulence that graced him. But, most moving are the numerous flowers, stuffed toys, and gifts that arrive, daily, at Graceland. To me, these gifts signify the “feelings” of others that most artists could only hope to evoke in their own day, let alone in a time 30 years past their death.

Most knew Elvis through his recordings, films, and videos. Elvis Presley still lives through these and the communication channels that evolved alongside his fame. But even more, Elvis Presley lives through the music created by others, yet today, because there is no escaping his powerful influence on all of music, globally.

The author captures the important role of Colonel Tom Parker as Presley’s visionary manager. The personal struggles of Elvis Presley are countered with his love of family and generous, kind manner. The role of the then emerging media of Television and the business side of music from DJ’s, recording companies, and concert venues, are told. Most of all, “Fortunate son: the life of Elvis Presley”, places the cultural icon, Elvis, in his historical context, while tracing the influences that formed him. It is a reasonable read. Shorter than the authoritative two-volume biography by Peter Guralnick (this book is 243 pages), Charles L. Ponce De Leon is able to capture the essence of the Elvis saga, while framing him and his music in the culture of his time.

Charles L. Ponce De Leon, Fortunate son: the life of Elvis Presley, Hill and Wang 2006, $15.00, (Paperback).