No Jim, my son is a middle school band director in Houston. I built a 9 button accordion for him when he was 10 years old and taught him to play two songs. He just didn't have the passion for Cajun music like me, but he does have a passion for music.

So there's no confusion, I'll be talking about two Korg tuners I have... one is analogue, from the 70's - the other is a modern digital Korg.

As I've always used my ears to tune my accordion, to the tone... I never had any understanding of meters. That's part of the reason I didn't trust both of my Korgs. With the vintage, I assumed that the meter should be on the nose (440), with every note. I don't use the meter to get a perfect tone, with accordion reeds, just my ears. I thought there was something wrong with the old Korg. At best, I only use the meter to tell the difference in flatness and sharpness (after I get one reed perfect). It's great for this.

I've come from a background of the only tuner I ever used with a meter, was a guitar tuner (not based on measuring Hz). And I only use the tone. But, the meter always landed in the center (if it was close; never exact). That meter is what I used to use for guitars, back in the 90's. I found out real quick, hearing the tone told a story meter couldn't.

Luckily, the pitch of the tone of my modern Korg guitar tuner is absolute accuracy. As I said, I can't say the same for the meter of this guitar tuner.

Jude, you help me understand what I believed was a problem with my vintage Korg. The meter should NOT be smack on the 440 nose with every note. I learned something valuable (but I still won't trust it's meter for dead on accuracy [:))

There is, however, something wrong with the 70's Korg (tuning trainer). The tone is not dead on, even when I set the meter to A 440.

That's what I'll give a modern Korg guitar tuner. The tone is smack dab on pitch. At least the one I have. I've compared to many websites with recordings of tuning forks (for concert pitch), and there's absolutely no dissonance.

Pythagorean tuning is the basis of "cajun" tuning

See link.

For the record.. Savoy does not use the common "Cajun" tuning ... he neither flats nor sharps to the degree that others do, and I believe not all the normally retuned from 12TET as the reeds are supplied from the reed makers.

I have checked some of his boxes and spoken with him about this.

I believe the real reason is time saving and appeals to more than "Cajun" ears.

Some folks also call Cajun tuning "just" tuning.. bet there are mkore than one "just" tuning. Hohner Marine Bands and Blues Harps are "just" tuned.. as are Spcial 20's but I think modified a bit..Golden Melodies are 12TET.

If the Pythagoreum method had been presented to Sidney Brown, I'm guessing that he might have excused himself from the conversation. Given all the variables that affect tuning, a few cents this way or that may play in the lab, but not on the stage.

Iry Lejeune didn't fret too much about tuning, he just played the music, and delighted his audiences. Talent and style trump precision en la poussière.

The early Cajun builders including Brown copied German box tuning.

It is not necessary to know anything about something if you copy.

The more I learn about tuning, in it's broad sense, not just cents, the more confused I get.