Yamaha MO8 88-Key Music Production Synthesizer

There's no denying that the Yamaha MOTIF is one of the finest-sounding workstation keyboards around. Also hard to deny: its price. Hey, you want the best in the game, there's always a cost. But what if there were some way to get all those amazing sounds at a fraction of the MOTIF's price? What if you could still get the awesome sequencing features and DAW integration the MOTIF ES has to offer, too? There just so happens to be a keyboard workstation that fits that exact description: the Yamaha MO8.

Built off the powerful AWM2 sound engine that's at the core of the MOTIF ES, the Yamaha MO8 88-Key Music Production Synthesizer puts that MOTIF sound well within reach of most musicians, without sacrificing functional design or sonic power.


MOTIF ES Sound Engine
Sound quality is the deal-maker or -breaker on any workstation keyboard, and the MO8 delivers. It boasts the same powerful synthesis engine as the industry standard MOTIF ES, so you can show up to any gig, session, or production date with your MO' in hand knowing you're packing some of the most explosive sounds in the biz. All the celebrated Yamaha sample-based instruments are there, including their much-lauded acoustic grand piano patches. Percussion sounds spanning from life-like studio kits to cutting edge hip-hop beats are at all your disposal. You even get the breathtaking MegaVoice instruments; when coupled with the Yamaha MO8's sophisticated arpeggiator, the MegaVoices recreate subtle playing nuances like guitar hammer-ons and pull-offs, or clarinet grace notes and over-breath noise. Also on board are the impressive analog-synth modeling capabilities of the MOTIF ES. A four-oscillator sound-generator architecture, multi-band filter, and dynamic envelope controls effortlessly recall the entire history of modern musical synthesis. Ever said to yourself "I know exactly what this track needs"? The MO8 has that sound, whatever it might be; it's like having every vintage synth you've ever heard, instantly at your fingertips. The MO's array of solid sliders and knobs provide assignable, real-time control over every instrument parameter, as well as over the comprehensive DSP effects. Yamaha wouldn't have called it a Music Production Keyboard without including a wide array of studio-quality effects, so along with the hundreds of voices, they ported the MOTIF ES's EQs, choruses, reverbs, compressors, and radical lo-fi, digital scratching, slicing, and beat change FX to the MO8. More than providing you with every sound you can think of, the MO8 will inspire you with sounds you never thought possible.

A Studio And Stage Performer
Like the MOTIF series, the MO8 is an expressive instrument, sure to inspire great performances on stage and in the studio. The full 88-key keyboard sports Yamaha's Balanced Hammer Effect keys for satisfying resistance and tactile feel that's similar to an acoustic piano. Tour-ready sounds like tonewheel organs, electric pianos and a gamut of real-time effects like vintage phasers and touch-sensitive wah-wahs are meaty and responsive; the rest of the band is sure to love them as much as you will. While the MO8 may not boast the same lavish, full-color screen as its big brother, it still features the same intuitive navigational tools that make finding the right sounds quick and easy. Entire preset "scenes" comprising groove phrases, multi-voice patches and specific effects chains can be recalled from a single "Master Mode" setting; it makes recalling complicated voice combinations for an entire song simple in a live setting, and creating song-writing presets in the studio a snap. When you do take your Yamaha MO8 on the road, you'll be happy to find it's a lightweight and rugged traveler.

Easy Studio Integration
Some folks think that the advent of easy computer recording marked the end of the keyboard workstation. . . not so with the MO'. While the MO8 does stellar work as a stand-alone sequencer, Yamaha also designed it to become an integral part of your project or home studio. Using Mackie's near-universal control protocol, the MO8 can be effortlessly set up to control all basic DAW functions like transport controls, track volume, panning, and can even control virtual instrument parameters. On the flip side, the Yamaha MO8 can be inserted like a plugin soft-synth into any VST-hosting software, making incorporating the MO's hundreds of instruments, grooves and effects into you multi-track projects utterly seamless. If you've got other outboard sound modules in your studio, the MO8 can control those too, thanks to full MIDI I/O and multi-zone mapping capabilities. The "Total Recall" feature works with your DAW to save external hardware setting--whether on your MO8 or other hardware synths--in the same master file as the rest of the project. Complete hardware/software integration has never been easier.

Offering producers, performers, and home recordists incredibly cost-effective access to the MOTIF world, the Yamaha MO8 is the perfect complement to any computer production studio, as well as a killer live instrument. Now everyone can tap into the Yamaha music production muse!

Description :

From Acoustic to Analog - the MO has it all!
The heart of the MO series is the same massive 175 MB wave ROM and synth engine found in the flagship MOTIF ES. Complete with expressive, multi-velocity acoustic pianos and EPs, MegaVoice guitars and basses that capture all the subtle nuance of the real thing and a vast selection of string, brass and other acoustic sounds, the MO is ready for any type of music production. A huge selection of different drum kits instantly inspires new beats and grooves. Whether you need realistic rhythm tracks or orchestral backgrounds, the MO has all the sounds you need in one place. But don't be fooled, the MO is not just for acoustic emulations. The 4-oscillator Voices feature multi band filters and snappy envelopes so there's also a complete selection of analog and digital synth sounds from funky basses, silky leads to atmospheric pads. Realtime controls and an advanced modulation matrix, let you easily shape those sounds to fit your production needs.

The MO also includes advanced effects processing including Reverbs, Chorus & Delays, 16 individual Part EQs and powerful dual Insertion effects that can be applied to up to three parts in a Mix or Performance. The Insertion effects feature some of the most creative and unique DSP processing on the planet including lo-fi, digital scratching, slicing, and beat change.

If you're looking for the most expressive acoustics sounds from pianos to drums, the widest selection of the freshest synth basses, leads and pads and the most powerful DSP processing available, you'll find that nothing in its price range has any MO.

The MO Goes with the Flow
As a musician these days you find yourself in lots of different situationslive gigs, song writing collaborations, studio sessions and computer music environments loaded with DAWs and SoftSynths. The MO series was designed to adapt to each of these different applications with their own special demands and provide just the right feature set for each situation. The responsive Voices and real time controls allow you to express subtle emotions in live performance. The Performances are not only live ensembles with splits and layers, but many use the MO's Phrase Factory Arpeggios and are complete grooves to instantly inspire new song ideas. But most important of all, the MO series was designed to be not just a keyboard, but the center of a computer based music production studio. It offers a DAW remote control mode that gives you full hands on remote control of DAW and SoftSynths. The Studio Connections compatibility let you treat the MO as a VST SoftSynth inside Cubase SX 3.1 and Nuendo 3.1. The special Utility Quick Setups let you easily change from one style of working to the next. So no matter how you like to work, the MO series adapts to fit your workflow and lets you be more musically productive.

The Perfect Song Writing Partner
Some people might wonder why you need a built-in sequencer in a workstation keyboard when there are so many powerful computer software programs like Steinberg's Cubase products available today. But the MO's Song and Pattern sequencer was actually designed to be a creative scratch pad to let you quickly and easily get your song writing ideas down. Much of today's music is looped based and having a Pattern sequencer let's you work in sections that can be easily chained together to try different song arrangements. So when working on new song ideas, it's often faster and easier to use the MO's on board sequencer to get your ideas down quickly while inspiration is still fresh.

The new Utility Quick Setups also let you transfer from the internal sequencer to your computer with a single button press. Because the MO is a complete self contained system - including a keyboard, tone generator and sequencer. It's great when you want to be on the move and collaborate with friends.

Jam On!
The MO6 and MO8 are light in weight and extremely portable so they are great for live performance situations. The MO8 features a Balanced Hammer action keyboard like that found on the MOTIF ES8.

Both the MO6 and MO8 feature hand on knobs and sliders for real time controls and a full compliment of pedal control inputs as well. The MO series also features full multi zone MIDI capabilities for controlling external tone generators, SoftSynths and other keyboards in your rig.

With it's high quality built-in DSP effects, the MO sounds great going directly into your band's PA mixer. Light in weight and heavy on features, the MO series is a working musician's dream.

Project Studio - Controlling your DAW with your MO
Today's project studios are centered around the computer and the MO series total integration with computer production systems is what really separates it from the competition. It features both USB "TO HOST" and USB "TO DEVICE" ports. The "TO HOST" port lets you connect multi-port MIDI to your computer with a single USB cable. The "TO DEVICE" port lets you connect USB storage devices like hard disk drives and thumb drives (USB flash memory) directly the MO for saving voices, performances and songs and backing up files to your computer. Digital Audio connectivity is standard with a stereo coaxial digital output for noise free digital recording of your MO to your computer sound card, a DAT or CDR.

The MO series also features a DAW Remote Control Mode that allows full hands on control of popular DAW software including Sonar, Logic, Digital Performer and the full range of Steinberg Cubase and Nuendo products. You can control Volume, Pan, Solo, Mute, Track Arming, Track Select and many other track specific functions. The Transport controls on the MO series can be setup to stop, start and return to zero your DAW projects. You can even edit and control VST/AU plug-ins and see their parameters displayed in the LCD display of the MO. Total control over your DAW and SoftSynths from your hardware synth has never been easier.

Home Studio - Controlling your MO with your DAW software
Perhaps the most exciting part of the MO series is the powerful cross platform software that can be downloaded from www.yamahasynth.com. Full Voice and Multi Part Editors are available that let you edit and store MO setups via your computer. Even more amazing, using the latest versions of Cubase SX or Nuendo, you get all the benefits of full Studio Connections compatibility. No more trying to remember what Voices you used in that project you were working on three months ago. Just launch the project and Studio Connections "Recall" will reconfigure your MO to exactly the settings that were last used in the project.

With Studio Connections "Audio Integration", you can even turn your MO into a Virtual Synth complete with phase accurate latency compensation and add VST effects directly to your MO inside your VST mixer. Imagine the convenience of Freezing a track on a hardware synths and then being able to continue working on your project even when the hardware is not connected.

Total Integration = Total Control
Total control over your DAW and SoftSynths with the MO's DAW Remote Control Mode has never been easier. Total control of your hardware synth from your DAW software with the MO's Studio Connection compatible software has never been easier. Now you can utilize all the power of the total computer integration in the MO series to make more music.

What is Total Recall
Total Recall is the first phase of the Studio Connections project. The Voice and Multi Part Editors for the MO Series are Total Recall compatible so they work inside the Studio Manager system available in the latest versions of Cubase and Nuendo. Studio Manager can be opened directly from inside your Steinberg software and contains editors for a variety of Yamaha synthesizers, mixer and effects. Saving a project in Cubase and Nuendo saves all your Studio Manager editor settings right along with your project file. Just open your project file again and Studio Manager will restore your MO (and the rest of your MIDI Studio) to the exact same settings as when you last worked on that project.

Totally simple - Total Recall.

What is Audio Integration
Audio Integration is the next phase of the Studio Connections project. It allows you to setup the MO Series as a VST Instruments via the "External Instrument" function found in Cubase SX 3.1/Nuendo 3.1. Now you can use the MO Series just like a plug-in, routing it to the DAWs Audio mixer, applying VST effects and even using unique VST functions such as "mix down" and "freeze". Finally youve got a seamless environment where both hardware synthesizers and software synthesizers can be completely integrated together.

Totally Cool - Total Integration.

The new MO series brings the sonic palette and music production power of the award winning MOTIF ES to a new generation of players and producers. Equally at home on stage, in the studio or in a computer based home recording system, the MO series is not just a keyboard, but the heart of your music production system. Killer sounds, a complete Song and Pattern based sequencer, powerful on-board effects processing and total computer integration come together to make these the most affordable music production synthesizers in the Yamaha line up.

Technical Info

MO8: 88 keys, Balanced Hammer Effect keyboard (initial touch)

Tone generator: AWM2

Polyphony: 64 notes

Multi-timbral capacity: 16 parts (internal)

Wave: 175MB (when converted to 16-bit linear format), 1,859 waveforms

Voice:
-- Preset: 512 normal voices + 64 drum kits

-- GM: 128 normal voices + 1 drum kit

-- User: 128 x 2 (bank 1: original, bank 2: picked up from preset), normal voice + 32 drum kits

-- Performance user: 256 (up to 4 parts)

Filter & effect system: 18 types (filter), reverb x 20 types, chorus x 49 types, insertion (a, b) x 116 types x 3 blocks, master effect x 8 types, master equalizer (5 bands), part EQ (3 bands, stereo)

Note capacity: approx. 226,000 notes

Note resolution: 480 ppq (parts per quarter note)

Maximum polyphony: 124 notes

Tempo: 1 - 300

Recording type: real time replace, real time overdub (with the exception of the pattern chain), real time punch (song only), step (with the exception of the pattern chain)

Tracks:
-- Pattern mode: 16 phrase tracks

-- Pattern chain mode: pattern track, tempo track, scene track

-- Song Mode: 16 sequence tracks (loop on/off can be set for each track), tempo track, scene track

Patterns: 64 patterns (x 16 sections), measures: 256 maximum

Phrases:
-- Preset phrases: 687 phrases

-- User phrases: 256 per pattern

Songs: 64 songs

Mixing voices: 16 per pattern (256 maximum)

Mixing templates: 32

Arpeggio:
-- Preset x 1787 types, User x 256 types

-- MIDI Sync, MIDI transmit/receive channel, velocity limit, and note limit can be set.

Scene memory: 5 per song

Sequence format:
-- MO6/MO8 Original format (compatible with MOTIF ES)

-- SMF format 0, 1 (Format 1 load only)

Master:
-- User: 128

*4 Zones (master keyboard settings), assignable knob/slider settings, program change Table

Sequence software compatible with the Remote Control function:
-- For Windows: Cubase SX 3, SQ01 V2, SONAR 4, MO6/8/MOTIF ES/MOTIF-RACK ES/MOTIF-RACK/S90 ES Multi Part Editor

-- For Macintosh: Cubase SX 3, Logic Pro 7, Digital Performer 4.52, MO6/8/MOTIF ES/MOTIF-RACK ES/MOTIF-RACK/S90 ES Multi Part Editor

*Functions to be controlled by the MO6/MO8 differ depending on the software you use.

Controllers: pitch bend wheel, modulation wheel, assignable control sliders (4), assignable knobs (4), data dial

Display: 240 x 64 dot graphic backlit LCD

Power consumption: 13.5 W

Dimensions (WxDxH), Weight: 54.28 x 15.44 x 6.68 in., 21kg

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10 BEST GUITAR BUYING TIPS

One of the most frustrating aspects of playing guitar is when you reach the point where you are not improving.

Whether you are a novice or a seasoned musician, we all face the same problem and ask the question, "Why am I not at the level I want to be and how can I get there?"

To add insult to injury, we see our guitar heroes in magazines and on TV everyday and it seems as if they are constantly inventing new tricks and improving their skills.

When we read about them in Guitar World to try to emulate their skills and learn their tricks only to leave more confused. Becoming the ultimate guitarist is far harder than it looks.

So what is the key to success?

While there is no one answer that can solve everyone's problem, there are a number of concepts and theories that can help you break through the barrier that keeps you from reaching your full potential.


The one thing that you need to realize is that you don't need to be a genius to become a great guitarist. The two key things you need to have in your possession are interest and commitment.

You'll never meet a great guitarist who isn't passionate about music.

They didn't get to the level that they are at by being apathetic and lazy. They took the initiative to go out and try to learn something new.

The guitarist who dares to challenge himself takes the risk of failing. This is where many musicians lose their battle with low self-esteem and quit.

It's not that they didn't take the risk, rather, that they failed and couldn't pick themselves up again. If you realize that failure is a part of growth and that it takes many jam sessions to get some tricks down, you have just acquired the first skill you will need to become the ultimate guitarist.

I have compiled a list of concepts that I believe every guitarist should try out. Unlike other articles you will read, these short and simple steps ask you to do, rather that simply read. Thoughts and attitude are important but in the end it's what you do that counts to your audience.

Let's get started with the top ten things you can do to obtain maximum results as a guitarist.

Top 10 tips for success...

1. Learn something new - Educating yourself is the first step to becoming a better guitarist. Whether you choose to believe it or not, there's always something new to learn and master. If you are currently studying music in a conservatory, at school, or in college, you will find that learning will come more easier to you. If not, I highly recommend that you get in a program. While I believe in teaching yourself, I also know from first hand experience that motivation and encouragement from a teacher is priceless. Once you conquer the subject that you were learning, push yourself to learn something that you're not quite comfortable with. Learning within your comfort zone often results with you running around in circles.
2. Make your time count - Practicing does not make perfect, it makes permanent. That makes the time you spend playing your guitar all the more important. Don't waste your time fiddling around on your guitar. Dig in and learn something that will aid you on your quest for musical success. Set goals and work towards achieving them. Whether it's technique, tricks, or a new song, you can become better just by using your time more wisely.
3. Listen to more music - The more music that you are exposed to, the better guitarist you will become. Listen to the bands that you enjoy most and draw inspiration from them. Take note of what the musicians are doing in their songs and make a list of the techniques you want to learn. This can be the motivating force that gets you to play your guitar more often.
4. Surround yourself with excellence - When you play your guitar with people who are better guitarists, you not only learn from them but feel motivated to push yourself to keep up. At first this idea seems obscure. Why would you expose yourself to that kind of stress? Let's face it, if there's one thing that will make you get motivated quickly it's the fact that people are counting on you. Don't play with musicians who are arrogant and rude. Embarrassment doesn't foster self-esteem and will only get you down. The people you want to learn from are patient and understanding. Eventually you will find yourself at their level. It happens faster than you might think.
5. Ask yourself what will you do when you obtain the skills you want - What do you want to do with what you learn? Perhaps you want to make a CD or join a band and play at some local venues. Start planning for it now and use what you currently have. This ties into setting goals but is not to be underestimated. Knowing how you want to use your talent is important. Create a vision and use goals to act on it. Whether you want to play for others, or to the wall in your bedroom, the choice is yours.
6. Teach someone how to play guitar - To teach is to learn. If the only chord you know how to play is a G chord, show someone that. Why? Because it reaffirms what you know and solidifies your knowledge. I can tell you from personal experience that I have learned more through teaching than I ever learned through being taught. It forces you out of your comfort zone and when questions are asked, you need to know the answer. I'm a firm believer that anyone can teach someone something if they want to. Give it a shot and see the results for yourself.
7. Believe in your ability - Yes, I know how cliché this sounds. However, you need to hear it. You can do anything you put your mind to and if you choose to play guitar well, chubby fingers or not, you can! Don't listen to what others say and be true to yourself. This can be hard seeing as we live in a critical society that doesn't realize how much words can hurt. Keep at it and surround yourself with supportive people. More of a life lesson than a guitar lesson, but as far as I'm concerned music is intertwined with daily living.
8. You are incomparable - In case you haven't picked up the hint yet, you are the ultimate guitarist. There is no one like you and there will never be anyone who even comes remotely close to being like you. Integrate who you are into your music and you will never have a shortage of material. Your music will soon form into your own tone and style.
9. Learn what worked for others - Whether you research your favorite guitarist or talk to your guitar teacher, ask others what worked for them. I don't claim to know all the answers but when everyone puts their heads together, some really neat ideas start to flow. Networking allows you to give and receive at the same time.
10. Crush your weakness - We all know where we lack the most in the guitar realm. For me it's in technique and finger picking, for others it's something different. Whatever it is, don't ignore it while enjoying your recent victory. Keep attacking your weak points and you'll soon see improvement. The secret is that you never stop seeing problems and you continually get better over time. You'll never be stuck without something to do. Take out a sheet of paper and write them down. Then find the resources you need to help you destroy them. It's not unlike a war, but in the end you always win.

Don't Believe The Popular Myths

You may be surprised to hear that a lot of the common advice distributed amongst guitarists couldn't be farther from the truth. There are myths and tokens of advice that get passed along and guitarists like yourself use them. Try as hard as you like, but you'll end up realizing that what meets you at the end of the road is failure.

To avoid that, let's look at some of the most common myths floating around:

All good players can play all styles: While great in theory, it doesn't work out in practice. Throughout the history of this newsletter, I have consistently pushed trying various genres of music and becoming a more cultured guitarist. However, no where will you ever hear me, or any other teacher, say that you should be able to master all of them.

The fact is that it takes a lifetime to master one style. Some take up two genres that mix well together, such as blues and rock, but those genres are the exceptions. You will never hear a neoclassical shred guitarist play country. Many jazz musicians take decades to perfect their craft and even then they still see areas that need improvement.

If you want to be a great guitarist, take the genre and style that you're passionate about and focus on it. Don't get distracted with other music. Your guitar heroes are heroes because they mastered a genre. Very few will ever play outside of their specialty and that's just the reality.

You either have "it" or you don't: Let's face it, some understand music more easily than others. That doesn't mean that you can't be as good as them. Everyone can play guitar, it just depends on the effort and time you want to put in.

There are dozens of specialties within music and no one knows all of them from the time they are born. Perfect pitch is developed, as is technique and originality. Look at where you started from as opposed to where you are now. Would you say that you are just as original as you were when you first picked up the guitar? I know I'm not.

While things may come easier to others, remember that we all have our own struggles within music and that we are in it together.

To sound good, you need the best gear - The best gear is nice, and yes, you do sound better. However, it's unnecessary for those who aren't interested in professional music or are just starting out.

Beginners love to see the rack of guitars at their local music store and say, "I want the $2000 one." That was me for years but the truth is that a guitar of that caliber is useless to someone who can't play it. Learn on something modest and work your way up.

Not only will the experience be more rewarding, it's also nicer on the instrument and your self-confidence. In the end, the guitar is only as good as the person who plays it.

I have heard crappy guitars sound half-decent when played by someone who knew what they were doing. The same applies to you. For those who can afford $5000 guitars, my advice is go for it.

For the rest of us, I say save your money and work towards being the ultimate guitarist. Think about it, if you sound good on a crummy guitar, how much better will you sound on something that can really produce a good tone?

You need to be the most talented to succeed- All too often, as mentioned above, we tend to compare ourselves to others. The ultimate guitarist is you meeting your goals and making progress.

There will always be others who sound better in certain areas but who cares? Be the person you want to be and music will be far more enjoyable. Success is measured on a personal level, not n how many CD's you sell.

The famous musicians in today's society often find themselves wishing they weren't so pressured by record labels. They want to be in your shoes where they have the choice to do what they want to do. Enjoy yourself and the rest will fall into place.

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TIPS ON USING A METRONOME

To some of you, the thought of using a metronome may conjure up old memories of past piano lessons. If the experience was an unpleasant one you may have developed some negetive ideas as a result. Perhaps I can help to dispel any misconceptions you might have by explaining how a metronome can be used to benefit your guitar playing.

For those of you who have no idea what I'm talking about, a metronome is an instrument that is used for clicking off exact intervals of time within a given piece of music. The tempo can be adjusted to suit any relative speed that is suggested for a particular composition or exercise. They come in a variety of types and sizes too. Everything from a large wind-up, pendulum swinging metronome to a small, pocket-size digital one with lights that blink on each beat, are available.

As a guitar player, one of your highest priorities should be learning how to count time correctly. A metronome can work wonders in helping you to develop a more consistent rhythmic feel. It can be used to practice simple exercises (such as scales or licks) or help you to master a more complicated piece of guitar music, whether it be classical, jazz, rock or whatever.

When using a metronome, set the click on the quarter beat (or down beat) of the music. This will make it much easier for you to count the time. In other words, when using a 4/4 rhythm (regardless if you're playing quarter notes, eighth notes, sixteenth notes, etc.) set the click to sound four beats per measure.

It's usually easier to begin learning a new song by setting the tempo at a slower speed than may be indicated on the piece of music you're playing. This is especially important if you are new to using a metronome because it will seem a little weird at first! Setting a slower tempo will give you time to map out the fingering on the guitar and get used to recognizing the down beat. Be patient with yourself.

With a little practice you will begin to feel comfortable using a metronome. Be persistant and pretty soon you will notice a definite improvement in your playing. Afterall... it's just a matter of time :)

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Guitar Tuning And How To Tune A Guitar

There are many different ways to approach guitar tuning. We'll touch on a couple of the more effective methods on how to tune a guitar. Not necessarily the most popular as some methods, though extensively used, are considered 'bad habits' rather than genuine, effective guitar tuning alternatives.


The guitar standard tuning is as follows:

STRING - 6th String (bottom, bass, low) NOTE - E
5th String - A
4th String - D
3rd String - G
2nd String - B
1st String (top, treble, high) - E

Tips For Any Guitar Tuning Method

First, lets cover a few things that every player should know when taking the proper approach to guitar tuning and how to learn to tune guitar.Learn to attach the strings to the machine heads properly. Never try to tune down to a note. Stretch the strings and tune up to the note. Tuning heads have a certain amount of 'play' in them so make a couple of deep bends and then fine tune the string. Before tuning a suspect string, check it against both adjacent strings to determine which string is actually out of tune. The string you suspect may not even be the culprit. When tuning a guitar with a vibrato arm, tune the string, give the arm a good shake, stretch the string, give the arm another shake and fine tune.

Veterans of guitar playing will already know these things so if you're a beginner and just learning to play the guitar, you're already ahead of the game if you implement these practices into your routine. For a great tool visit http://www.guitarmusician.com/guitar-tuner.htm

Here's A Quick Method For Guitar Tuning

Tune the treble (high) E string to an A440 tuning fork by holding your finger on the 5th fret, then tune the open B string to the open treble E string – listening to the interval of a fourth. It's easy to hear the fourth in that register.

Play the A note fretted at the 2nd fret of the G string, and compare it to the open treble E string – you're listening for a perfect fifth interval.

Fret the 2nd fret E note on the D string and compare it to the treble E string open. Double check this by fretting the E note on the 14th fret of the D string.

Now tune the 7th fret harmonic on the A string (an E note) to the open treble E string.

Finally, tune the 5th fret harmonic on the bass E string to the open treble E string.

This is a simple guitar tuning method that works well.

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