以下文字是 Gerard Melancon 回答有關 scale length 的問題，剪貼自： http://205.214.78.138/board/showthread.php?s=305bcc40d99a12e0862a542b5938cbec&threadid=763 <BLOCKQUOTE>quote:</font><HR> Hi John, Let me first address compensated scale length by telling you what it will correct. Have you ever tuned your guitar and played an open G chord, sounds great, then you play an open E chord and the G# note is out of tune a bit. This is one of the reasons for compensated scale length. Scale length is based on a mathematical formula that figures where each fret should be placed in reference to the nut. The problem with the formula is that they didn't allow for error when you depress a string. If you can imagine a string tied at each end. Measure that string, now depress that string in the middle and measure again. The length of the string has changed. This is called the elastic modulus. If you apply this to the guitar the same thing happens. This varies with the fret you depress the string, the gauge of string, and the height the string is above the fret(action). The compensated scale length is still not perfect and due to the nature of the instrument will never be. This is only designed to get it closer to perfect. We did 6 months of R&D to come up with our compensated scale length. What you are actually doing is moving the fret placement by thousandths of an inch. This is not something that you can look at a guitar and tell it has a compensated scale but the minute you play it you can tell. I have grown so accustomed to it that I have trouble playing a guitar without it. Everything sounds out of tune. This problem has plagued guitars since the first guitar and not until a couple of years ago have guitar builders started to fix this using compensated scale length. You may have heard of the Buzz Feiten Tuning System, this is doing the same thing. There are several manufacturers using compensated scale length so we didn't reinvent the wheel. I continue to improve our guitars and if something comes out that will make our guitars better then I think we should be using it. The problem is with the bigger companies that have been in business for years, they take the approach that we have been building guitars for 50 years how can you tell us how to make a better guitar. I think if you played a compensated guitar for 15 minutes then played a noncompensated one you would know right away what a difference it makes. I am fortunate to have a nuclear physics professor to work with me. Guy Diebold was a professor at Yale and without his help it would have taken me years to figure this out. I hope this sheds some light on what we are doing. Kindest Regards, Gerard Melancon <HR></BLOCKQUOTE>
對 Buzz Feiten system 他也有些不同看法： http://205.214.78.138/board/showthread.php?s=305bcc40d99a12e0862a542b5938cbec&threadid=752 <BLOCKQUOTE>quote:</font><HR> We use the same tempered tuning on all of our guitars and it makes a big difference. I spoke to Buzz about using his system but one of the guys in the shop was a nuclear physics professor so we worked it out and use the system on all of our guitars. Basically what it does is compensates for the deflection when you depress a string. This causes the note to be out of tune a bit. This varies with the string and fret position. We don't make a big deal about it, we feel that if it makes a better guitar it should be used. Buzz Feiten wanted x-amount of money up front and x-amount for every gutiar you sell plus put his name on the back of each headstock. I could go further into the particulars but it is based on moving the nut and frets. The movement is in thousanths of an inch so it is not something you can look at and tell if a guitar is compesated or not but when you play it you can tell right away that it plays more in tune. I hope this has answered your questions about the tempered tuning. Kindest Regards, Gerard <HR></BLOCKQUOTE>