That’s not very helpful. You can only do that one string, and it breaks the perfect octave starting on the detuned string. As soon as you also try to detune the next string up, you break the octave you started from. This is a house of cards idea that falls apart immediately.
replyThe detuned string in between likewise has a perfect octave relationship to strings that are two removed.
replyThe E, D and B strings are turned such that they yield clean octaves (and other equal-temperament intervals).
Then so are the A, G and E.
But these two groups are slightly detuned, so that the fifths are clean from the E to A string, D to G, and B to E.
Have you actually tried this? What songs work? To me this sounds totally impractical and useless, like it’s a logical technicality for the purposes of this discussion and not something a real musician would ever do. You’re making tuning a pain, breaking the E-E octaves (all barre chords), breaking octaves with 2 strings between, breaking the next-string octaves, breaking a lot of scales and jazz chords, and to top it off it would still only work for certain keys and not others. I’ll pass.
reply1. Yes; I've been tuning along those lines for nearly four decades. What songs work: anything with power chords that benefit from sounding sharp, free of flutter.
reply2. The error between the equal temperament perfect fifth and the pure one (3/2) is just less than 2 cents. So the difference I'm talking about is at the same level of accuracy as that of pretty excellent guitar intonation. The corrections are not simply for equal temperament; they are not separable from the condition of the instrument and its intonation. The given instrument is what it is, and to get those 1-5-8 power chords to sound clean you do whatever you have to.
What you’ve described would make all powerchords rooted on the A string audibly worse than standard tuning, with more flutter. Are you avoiding all A string chords?
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