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They probably look ugly to traditionalists but I love to use them. Extremely accurate at 40:1, not protruding so much and easy to use.

I was thinking or trying this type of tuner on a twelve string. How do you like their operation from a players stand point?

Interesting. Where'd these come from?

I actually don't like high gear ratios -- 40:1 sounds like a nightmare to me. Still, though, I can imagine applications where tuners like this could work well. Who makes 'em?

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Todd Rose
Ithaca, NY

https://www.dreamingrosesecobnb.com/todds-art-music

https://www.facebook.com/ToddRoseGuitars/

I like them in the 6 in a line layout better than 3 a side.

I could envision maybe using them on a futuristic electric or maybe a REALLY compact travel guitar.....

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My soundclick xx luthier blog xx luthier soundclick

     Placement looks a little odd, but, I guess one doesn't have much of a choice. How well do they tune? I saw these and was very interested.

     40:1 does sound a little high, but I was wondering how this is figured considering these work up and down, right, and not rotational!

     It's cool seeing them used. This is the first for me.

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Billy Dean Thomas
Covina, CA

"Multi famam, conscientiam, pauci verentur."
(Many fear their reputation, few their conscience)

[QUOTE=Hesh1956] Cecil lets see the rest of that cool guitar that you posted the tuner pictures with?[/QUOTE]

Yup! we wanna see the whole thing!!

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Peter M.
Cornerstone Guitars
http://www.cornerstoneukes.com

I must admit first of all that I am not a luthier. I have built a sailing dinghy, a house in Belize using some hardwoods some of you have probably never seen, a kitchen table that turned out to be rosewood, but never a guitar.

My greatest attempt at being a luthier was back in 1965. What I did would be considered sinful by many. I bought an old heavily played, scratched up Fender Stratacaster for $90. I took it apart, sanded down the body and neck; took the body to an auto paint shop and had them put a light blue translucent finish on it. I cleaned up the frets and put a finish on the neck. I bought a nut blank and filed it accordingly. I cleaned up the metal parts and had them re-chromed. I think I bought a new pickguard and pickup covers. It had to be a middle to late fifties model and I am bewildered to think how much I could have sold it for today if I had never touched it. Anyway, I put it back together and got it to play great.

I love guitars and have collected old ones for several years. I have over 30. My oldest is a Gibson 1937 archtop f-hole.

When I came to Vietnam 3 years ago I found a luthier to build me a steel string. He builds mostly Asian style instruments and classical guitars so he really enjoys doing work for me. He is making #8 for me now. I like to support his art/craft.

#1 - A student quality dreadnought guitar, sitka top, mahogany neck and local rosewood fretboard,bridge,back and sides. My name in abalone on the headstock.

#2 - A Gibson style Jumbo with sitka top, quilted maple back,sides, neck and ebony fretboard with the vine abalone inlay and my monogram CCJ on the headstock.

#3 - An OM cutaway with sitka top, Brazilian rosewood back and sides, mahogany neck, ebony headstock cover, fretboard, bridge and binding. (see pictures as requested)

#4 - A 5 string rectangular shape acoustic bass as a present for my Godson.

#5 - A dreadnought sitka top and beautiful local Vietnamese rosewood back and sides and mahogany neck for my friend.

#6 - A classical with California redwood top and Peruvian walnut back and sides, Macassar ebony headstock cover, fretboard, binding and mahogany neck

#7 - a 12-string dreadnaught bearclaw sitka spruce top, bubinga back and side and quilted maple neck, binding and backstrip, ebony headstock cover, fretboard and bridge. He laminated some of the braces with CF

#8 - Is now in progress. It will be a 7-string OM 1/4" deeper than Martin standard. The 7-string will have 2 G-strings at octave like a 12-string. It is going to be all vietnamese wood. Quilted mahogany top, back, sides, neck and rosewood fretboard, neck,binding and bridge.

Back to the Steinberger tuners...

They are really easy to adjust but I am not sure how good they would be if you change back and forth to alternate tunings. If I use them again I would consider 6 inline or staggering the 3 on each side. They look ok from the front but the top 2 look a little strange from the back although tuning is no problem.

Here are pictures as requested:





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The 40:1 ratio does seem problemary but actually you just pull the string a little lower than the desired note, lock it down and then just do some fine tuning.

I have nothing against the design, but like the others would have a problem with the ratio. The 16:1 of Waverly's is about as high as I like to go and in fact prefer the 12:1 of the vintage Schaller. Perhaps it's because I'm used to the 1:1 of lute pegs!

Nice workmanship Cecil.

Colin

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I don't believe in anything, I simply make use of a set of reasonable working hypotheses.

Does anyone know what these tuners weigh? Like Michael, I'm thinking "twelve string." But only if they are significantly lighter than conventional designs.

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D..

just gauging their mass, they have to be at least 15% lighter than Gotoh 510s but that is a guess.

This is on sample of local Vitenamese rosewood used on a student grade guitar.

[quote]Does anyone know what these tuners weigh? Like Michael, I'm thinking "twelve string." But only if they are significantly lighter than conventional designs.[/quote]

    I think the main concern would be spacing. If you look at Cecil's headstock the tuners chevron to center, to escape interference with the size of the lock down knobs.

    This is not so much of a problem with a standard tuner because of pin size being so much smaller. As I see it.

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Billy Dean Thomas
Covina, CA

"Multi famam, conscientiam, pauci verentur."
(Many fear their reputation, few their conscience)