If you get a client that want his recordings to be in 432 Hz or something else. What do you do? There is only a few synths in Native Instruments Komplete that can be tuned.
 
I dont want this to be a discussion if those are crazy or that 440 Hz can kill you. But we work for the people and want them to be happy.

Here is a video of the phenomen
 

All Kontakt instruments can be tuned. Hold the SHIFT key down while turning the Tune knob to get fine adjustments. Looks like 440 to 432 would be somewhere around -0.2, or 20 cents (would they really be able to tell if it was 431.5 Hz?). I imagine there may be a free oscilloscope plugin out there that'll give you a precise frequency reading, but SPAN would probably get close enough.
 
Whatever you end up doing, just make sure you charge them extra for your efforts. Put it on the invoice as a "Gullibility Tax" surcharge.

GVST GTune and MeldaProduction MTuner can be set to A=432.
TC Electronic Polytune does not go that low.
I am sure there are other tuners that do though.
 
Would seem a setup fee would be in order.

Because 440 is the standard, and some things are a PITA to tune otherwise, I typically add the steps of bringing up imported material to 440, then dropping it back to "whatever" on export. The convenience of working in the standard easily offsets those steps, but depending on how files are shared this unto itself can get convoluted. Adjusting a printed audio track up/down in pitch is far simpler than verifying synth setups in the project, so exporting stems and using a utility to batch convert becomes easiest for me.
 
The "whatever" is because some things are detuned to values that don't even hit a whole number (good luck getting many synths to detune by x number of cents).

Thanks guys. But some people dont want to listen to 440 Hz so you have to start the project in 432 Hz. They think that listening to music in 440 Hz is dangerous. Its easy to laugh at it, but for them its really imorprtant and then they need respect. At least so they come back for more work. lol.
 

Hi, Oyvind. How are ya? Glad to hear you're getting some clients.
 
I'd check out what bitflipper said if you are using Kontakt exclusively (I don't know if that works because I don't own it but bit's a smart dude).
 
However if I were in a predicament such as that, and since many synths do NOT have fine tuning here is what I would do based on all my wacky experiments using the minimal stuff I have/know how to use.
 
Reaper has a "Varispeed" fader that will adjust tempo and pitch. I'd load a stereo mixdown of the backer tracks (obviously something mixed to your personal taste to ease writing/tracking) into Reaper then adjust the varispeed fader until I got the backer tracks up to (or down to) A 440hz. Export that then bring it into SONAR (or whatever DAW/sequencer I was using) and do my writing/tracking.
 
Once I'm done I'd take those files and import them into the original Reaper project then set the varispeed fader back to 0.0 then bounce/export the newly pitch/time stretched tracks.
 
If done correctly (with the correct settings in Reaper) it should be fine. Of course the less stretching the better so if you are closer to a whole semitone down then do your varispeed maneuver to match the nearest semitone and then you can just set your keyboard/hardware up or down by the appropriate amount of semitones (which means less stretching in Reaper).
 
I am currently working off beds that were recorded at A445 (but the guits/bass tuned down a semitone) so I've set Guitar Rig's tuner to 445 and am just tracking it all (and will release it all) as is. I think it might add a little bit of extra uniqueness/quirkiness to the tracks. However there are absolutely no synths or other wackiness going onto the tracks so I don't have to worry about the situation you describe.
 
Cheers!

MAN, I've been tuning down a full half step for about......32 years!
LOL
 
i don't think i care about 432

batsbrew
MAN, I've been tuning down a full half step for about......32 years!
LOL
 
i don't think i care about 432

That was my old band's tuning because it was a little crunchier/heavier without losing string tension (I use .11's so it works out nicely) but because we generally just tuned to each other for practices/gigs we'd drift until I'd grab everybody's axes and lock them back in.
 
I apparently forgot to tune everyone up before we tracked (which I used to get really annoyed at myself about but now I've deluded myself into thinking the non standard tuning is teh coolz).
 
I also used to tune down a semitone for my solo acoustic stuff (and anything else where I sang where I could get away with it) so I could get that one extra note in the upper register before I started cracking/falsettoing.
 
Of course once I started working with fixed instrument players (most notably accordian) I'd have to go full on 440... otherwise I'd be being a REAL jerkbag to my poor fixed instrument compatriates (well... more so than usual).

This is the kind of thing I don't miss about running a commercial studio.