Another area where things changed over the course of time covered here was the accessory items for players. As an example, tuning devices started showing up. When players here started out, one of the most common ways to tune your bass or guitar was to use a pitch pipe. Many early models, usually a plastic case with metal reeds, had six notes corresponding to the pitch of each guitar string–E,A,D,G,B,E from low to high in pitch. While better than nothing, if dropped or blown into too strongly, the reeds could become damaged and inaccurate. Bands with a keyboard player could just tune to the organ or piano. Others used a harmonica to get the correct pitch to tune to. There were also tuning forks available to players. Around 1967 and early 1968 other devices appeared on the market.    One of the first “high tech” tuners was called the “Vu–Tuner”. About the size of a pen or Sharpie cap and long enough to span all 6 strings on a guitar, the Vu–Tuner clipped onto the G string and was placed close to the bridge. Inside the device was a reed with a white square attached to it’s end that could be seen through the window that faced the player. There was a black line dissecting the square in the middle. As the guitarist plucked the low E string the reed and square would vibrate. When the black line on the square turned into a wide grey blur the string was on pitch. It worked relatively well although the reeds accuracy was in question. While tuning my instrument with the Vu–Tuner an acquaintance with perfect pitch told me that I was tuning a half step off E. In checking it later with a piano it was indeed a bit off pitch. Somehow the reed had been damaged most likely.    In the early 1970s the Peterson and Conn Strobe Tuners started showing up on stage with some of the name players of the day. These were chromatic tuners and much more flexible than what had preceded them. They were high dollar items which had been around for awhile–usually appearing in high school band rooms locally. Some of the more well to do players were able to afford one. Later, electronic tuners started to appear.
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	Originally they were basically an electronic version of the earlier pitch pipe only able to tune the 6 strings of the guitar. At first there was a switch that allowed the player to select which note to sense for tuning. More elaborate models were introduced that automatically sensed which note was being tuned. Eventually electronic chromatic tuners appeared. There was even a tuner introduced that could be attached to the individual tuning peg. As the note was plucked an electric motor in the tuner would automatically turn the tuning peg in the correct direction for nearly hands free tuning. What a deal!    Changing strings could be a rather laborious task. Somewhere in the late 60s and early 70s string winders–or cranks–were introduced. These fit on the tuning peg and allowed the player to quickly crank the string off and on to make restringing a faster process. Drummers also got some help with tuning the heads on their kit. A combination torque wrench and drum lug key made it quite easy to equally tension each lug for a more consistently tensioned head.
				Speaking of strings, even these became more varied as time went on–drum heads too. At the start of the garage band thing string gauges were fairly limited. Then Ernie Ball came out with what they referred to as "slinkys". Ernie Ball offered a set that started out with a .008 inch string for the high E. A normal set might have been a .010 on the highest pitched string to a .046 to .050 on the bottom end. An ‘8’ was an extremely thin string which caused the overall string tension to be less. A typical slinky set might be an 8 on top and a 38 or 40 on the bottom. That made for less playing fatigue and easier playing too. Soon all kinds of gauge variations were available from all the string companies. As a side note–in a general sense, the heavier the string gauge the better the overall tone from the guitar. The late Stevie Ray Vaughn played heavier gauged strings for this reason. Your mileage may vary.    Drum heads went through a similar change, although this occurred somewhat later than the time frame covered here in Garage. High tech approaches like using Kevlar for drum heads along with synthetic materials that could mimic calf skin–but last longer–started to become available. Evan’s made a head that was actually two heads placed close together with a mineral oil like fluid between them. These were called ‘hydraulic’ heads and were quite popular in recording studio situations.
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