A Publication of R.W. Green Enterprises Reg'd         June 1987
Internet Editon
While professional sixteen-tracks have been around for years, they are considered in some circles to be beyond the reach—even beyond the needs of most professional musicians, as far as day-to-day items go. Having worked extensively with four-track cassette, and being aware of the questionable final quality that budget eight- and sixteen-track machines can produce, we at Greenledge Studios think otherwise, and we are very excited and proud to announce... Tascam MS-16 and M520!!
   We will be attempting in the next few years to add to this existing core equipment in a professional and serious way to provide affordable, professional-quality recording and mastering for independent musicians and bands.
   For the dubious-minded we have in fact already released two cassettes on our own independent label, recorded on four-track cassette, and one of these releases was played on CFQC Radio in Saskatoon! Yes, our minds are reeling at Greenledge.

by Ward Green
What do you do when your electronic tuner goes ga-ga on stage, or when Muddy Waters is dropping by later for a blues jam and there is not a frequency counter to be found in the house? For that matter, how many times have you had a potentially great jam spoiled by the simple problem of guitar players not knowing how to, or not being able to, tune up? It has been the serious intention of this writer for some time now to write a book on the subject of guitar tuning, for as a guitarist and piano tuner who has read numerous books on the subject of tuning both instruments, it seems to me that somewhere along the line the guitarist got left out in the cold. Not yet have I seen an article or book on guitar tuning (or tempering) which did not contain some fatal flaw, whereas there are a number of good books available on the subject of tuning pianos, one of which I own (Piano Servicing, Tuning and Rebuilding by Arthur A. Reblitz). Among the better treatments of guitar tuning which I have seen, specifically the ones which display a detailed understanding of the well-tempered scale (for example, Barry Lipman's article in Soundboard magazine, Summer 1983), there is still an apparent lack of knowledge regarding inharmonicity and sources of tuning error, the latter being essential to an understanding of the principles of tuning or tempering. My knowledge on this subject has come through the reading of books on the subject, as I mentioned, but also through my knowledge of the theory of string vibration as acquired in physics courses (I am an M.Sc. Physics, Queen's University), my understanding of error addition and propagation, my broad experience in the world as a whole, and my patient efforts in the tuning of my own guitars and my piano over the past two years. I hope that this article will serve as a precursor to the book which I plan to write. Inharmonicity, a common term among piano tuners, refers to the imperfect vibration of a string which causes the harmonic frequencies of that string to occur at slightly higher than integer multiples of its fundamental... (continued on p. 2)