对传统吉他的调音，一般认为使用调音表调开放弦音准能够得到比较准确的结果。但是许多吉他手发现这样调弦后并不能调准指板上所有音，即使是在已经精确矫正过音准的吉他上。例如按A和弦时，构造A和弦的几个音符间的音程关系是悦耳的，但是此时按D和弦就会发现音准有些微偏差，听感不好。许多吉他手会对空弦音做一些细微的调整来让吉他听起来更顺耳一点，但是大多数人只能把这种缺陷归结为吉他的先天不足。Buzz Feiten的矫正调音系统的基本原理早在17世纪初对钢琴调音的修正中就有应用，实际操作时把中央C以上的音调整的略高一点，同时把C以下的音调的略低，这样可以让钢琴听起来更悦耳。在钢琴调音上至少有12种或以上不同方法，并且有各自的命名，怎样选择完全取决于演奏者的口味。（注：结合十二平均律的固有缺陷可以推测一下为什么说有至少十二种：平均律将纯八度音程内的音分成均等的十二个音，这样以每个半音为基准，都可以推出一种接近纯律定律的音程排列，新的经过细微调整的十二个音实际上在纯律与十二平均律之间做了妥协，即保持了平均律便于转调的优点，又可以部分解决级音之间不够纯正的问题；而这十二种方法之外的其他方法是对它们的再次妥协。不过只是我的推测，如有错误请大家指正~）。在音的修正上，吉他是远远落后于钢琴的，很长时间以来也一直没有人在完善吉他结构上想办法，Buzz Feiten说：“部分原因可能是在历史上，吉他总是被看作某种玩具或者一件吉普赛人才玩的乐器。”

       Buzz Feiten的朋友Greg Back在加利福尼亚州立大学学习了一门叫做“音乐物理学”的课程。这门课程包括了对古希腊数学家毕达哥拉斯理论的描述，它的理论决定了品丝定位的由来。根据毕达哥拉斯的模型，弦的拉力是一定的，由此可以计算得出品丝安装在什么位置能购得到十二平均律的准确定律。但是这个模型显然忽略了一个问题，即按下不同品位的弦对拉力的改变是不同的，例如按下12品音显然要比按下1品音省力的多。这样就直接影响了音准，所以前几品的音总是略高。Buzz Feiten根据他的这个理论作了大量的实验，形成了一套矫正调音系统。他把琴枕向一品方向略微移动了一点，并对指板做了其他一些修正。更进一步，Buzz Feiten对不同品数的电吉他、钢弦木吉他、尼龙弦木吉他等等都做了相应的系统修正。Buzz Feiten为他的研究成果申请了专利。

       对吉他厂商推广这种新的修正系统显然是十分困难的。当初Floyd Ross推广他的浮动琴桥的时候就被许多人排斥，甚至拿他当神经病看待。而Buzz Feiten要做的是告诉已经生产了无数把吉他的厂家它们以前的所有琴的音准都有毛病，只有他自己的新系统才是正确的，即使那些大厂家能忍着听完了Buzz 的说明不把他赶出去，即使他们能够同意Buzz的理论，他们也不可能不顾面子采用新的修正过的系统，因为根本没办法跟顾客交待。

       在得到Steve vai，joe satriani，Frank Gambale, Scott Henderson等人的认可后，Buzz Feiten系统的推广有了起色。Tom Anderson牌子的吉他首先把新系统作为了标准，而后著名的Washburn也开始全线推广这种新系统。


作者：赵洪波 

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