Agree, with caveats: in the context of vocal tuning there's often a desired note that represents the melody. And objectively there's often a note that a musicia

Agree, with caveats: in the context of vocal tuning there's often a desired note that represents the melody. And objectively there's often a note that a musician intended to play. Even if the instrument and signal path cooperate to capture this intent (the inharmonicity of the string itself; nonlinearities of the microphone and amplifiers; resonances in the instrument soundboards and rooms themselves) you're already chasing ghosts! Then add in a mixing engineer boosting and reducing frequencies, a tape machine varying in speed ever so slightly, and a mastering compression step throwing away amplitude detail -- and you've really got to wonder what the hell someone thought they were doing by running FFTs on a 50 year old analog mix and pretending they've got insight into the original solo instruments.