One negative to the ST-122 is that it eats batteries at a pretty fast rate if you leave it on. I will admit that it doesn't seem to work very well with my banjo using the mic.
I tune and repair pianos as my "day job" and I have tested far more expensive machines which don't outperform the ST-122. When you see them, and compare them to the cents scale, you'll see how coarse the display really is. There is a "secret" keystroke combination (which I can't recall at the moment) that turns on all the "needle-like" LCD segments of the CA-30 for testing that they all work. Those LCD segments on something like the Korg simply cannot display variations smaller than about 2.5 cents. I tune one string to the tuner and match the unison by ear. The ST-122 is the only tuner I have ever used which has a display accuracy sufficient to tune the unison strings individually and have them come out sounding together. The Korg gets handed around a lot when someone wants to borrow a tuner since some people kinda freak out when they first see those spinning LEDs on the Turbo Tuner. If I only had $20 bucks to blow on a tuner I'd get the Korg CA-30. The Turbo Tuner is a great tuner! Yes, I still carry a Korg CA-30 in my case, but the ST-122 is far superior. A tuning fork is also a great tool that never needs batteries.I second what Douglas said. Sticking to the cost limit in the post itself I would vote for the Korg CA-30 with clip on mic. Celtic, U.K.Based strictly on the thread title I would vote for the Sonic Research Turbo Tuner.Jazz/Blues Variants, Bossa, Choro, Klezmer.Old-Time, Roots, Early Country, Cajun, Tex-Mex.Rock, Folk Rock, Roots Rock, Rockabilly.Bluegrass, Newgrass, Country, Gospel Variants.Technique, Theory, Playing Tips and Tricks.Jams, Workshops, Camps, Places To Meet Others.Looking for Information About Mandolins.But after years of practice and training, now I hear things that others miss.įYI, the most accurate tuner I own is actually in my Helix multipedal, but nobody is going to buy that just for a tuner. When I was younger, and my ears weren't as trained, I couldn't hear out-of-tune hardly at all. It's also good ear training, to learn to hear those subtle differences after you tune up. But the rewards of hearing the instrument sing in tune with itself (and others) is worth it. You have to tune for the range of each string, pluck at the same force for each string, so it is harder to use a less forgiving tuner. But now you can see why it is harder to use them. If it says your string is in tune for the duration of a note, then it isn't a very accurate tuner. Strings when plucked will start sharp, and drop in pitch as they drop in volume (more noticeable on the lower strings). I guess in the end whatever works for you is best, but some of us can hear instruments that were tuned with a more 'tolerant' tuner. I once posted a thread on that subject and was met with some skepticism. My snark tight would say everything was fine, my ears and the Korg disagreed. The good ones, with a little practice, will let you dial in as accurate a tune as you have time for. I think Ed nailed it, it takes some getting used to a more accurate tuner. It's more difficult to adjust for a good readable angle behind the headstock. Once you get used to the display, it's easy to use on more than one device.Įdit to add: I also own the TC Polytune, it's good, but I don't like the fixed angle.
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This new version is much smaller than the first one, easier to fold back and hide behind the headstock:įWIW, I also use the Peterson iStrobosoft tuner app on my Android phone for initial tuning of my "Irish" flute at a session. The clip angle is large enough to work on my mandolin, OM, and acoustic guitars, including a fairly large Classical guitar headstock. It's the best one I've ever used, including the previous model, but I've been in the Peterson camp for years, so take that with a grain of salt. What I use is the current model of the Peterson clip-on tuner.
So, since this will end up as a "what I use" thread anyway. Some players prefer a fast-acting digital needle tuner that may have a wider acceptance for "in tune," which is good for jams and gigs, at the cost of not being able to drill down into the fine tuning you might want for setting bridge intonation. That's a problem with "strobe tuners" in particular, which requires some patience in working with them. Not every tuner is suited to every player. For as long as I've been active here on the Cafe, a "what's a good tuner?" thread invariably turns into a long thread of posts about "What I like and What I use." Which has value, but unless you've tried every available tuner out there to make that comparison, it has to be taken with a grain of salt.
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