...but it doesn't float. For me it has to float to be desirable because divebombs and squeals are cooler than perfect intonation, especially if you do them while playing a difficult rhythm, proving you can play both lead and rhythm simultaneously. And you can stay in tune because you have a quality bridge and know how to set it up correctly.
It's about flashy, difficult guitar playing done in one take, not pounding syncopated power chords into a MacBook and syncing it to a grid.
And the knife edge should be balanced if the claw is adjusted correctly and the bridge is leveled. The other strings will take up the slack for the missing one to some degree and once a new string is put on and tuned to pitch only minor adjustment is necessary.
I've never understood the need to hit hard except for tight, faster alternate picking when you don't want the notes to blur together. Economy picking for speed, a light touch, that sort of thing.
The only time I've ever had issues with a low tuned guitar is a 24.75" and it would occasionally go flat with 10s tuned DGCFAD. This is after my using 25.5" Floyded guitars for nearly 30 years.
Solution: practice with more 24.75" guitars to develop a lighter touch, go up a string gauge if needed. Don't flail the right hand with wasteful, excessive motion to look more impressive on stage or to get what one thinks is a superior tone but isn't because you're already loud through an amp, heavily distorted, and compressed and no one can tell the difference from yards or hundreds of feet away.
Still seems like more of a crutch device for less technically experienced guitarists to have more tuning stability when they play with a heavy hand, which, instead of correcting amateurism, is amateurism.
The video poster also talked about how restrictive the zones can be, how they change the feel of bends, and the high strings nearly coming off the neck. A Googled perusal of criticisms of the bridge also shows that many feel, like a Kahler, the Evertune is a tone suck, which would make sense on something with that big a metallic footprint.
I'm willing to accept a bridge leeching tone from "tone wood" but only if that bridge offers desirable functionality: the ability to float.
If they make a floating version, I might try it. But again, it's an elaborate solution to a problem I don't have. Where my resentment comes from is when they slap this thing on most new guitars it forces them on those of us who don't want them.
As far as being out of tune with other guitarists, even guitars of differing scale length are going to sound slightly different, and minor imperfections are how you can tell there are two guitars that create a stereo effect in a live recording.
For their part, True Temperament says their system doesn't create dissonance with standard guitars, so how off can an Evertune and regular bridge playing together be?
Which means, you kind of don't need it either ET or TT. Even so, you can use TT with a floating bridge, which you can't right now with Evertune.
All of this said, I skipped most of the problems with Floyds because I started on Floyds and went to fixed bridge later. I considered floating bridges to be superior even at 15 years old because they gave the guitar additional functionality. Knowing how to set one up made me more self reliant to the point that I only stayed away from Kahlers because of expense and they're harder to find relative to Floyds.
Basically ET has nothing to offer me, really, so I don't understand the interest in the product if, like
Phantasmagoria , I can see a simpler solution to the problem than what they are trying to sell me.
I'll check back with them when they have a floating version perfected, though.
From TT:
https://www.truetemperament.com/faq/
"What happens when True Temperament guitars are used with other guitars, bass, piano etc?
It works just fine together with “ordinary” instruments. The offsets from Equal Temper are not so severe that they create any dissonance whatsoever."
