The arguments about this seem silly. The chromatic tuner is a versatile, useful tool. Alone in your room, what other reference do you have, if you don't have a whole bagful of tuning forks? Also works to facilitate initial tune-up in ensembles, even if tuning to the piano (you can calibrate the tuner, then pass it around), and periodic checkups after you've warmed up. Tuners aren't viewed as silly in concert ensemble practice and warm-up rooms -- why so for jazz, etc.?
Of course in performance, all pitch is relative. Wind and string instrumentalists, and vocalists do not perform in equal temperament. So what? Chromatic tuners are still useful for all of the above purposes, plus learning and adjusting to the tendencies of your instrument. That bagful of tuning forks isn't going to be of much use playing in-tune in an ensemble either.
The keys to me are to first know about where you are relative to the prevailing pitch, adjust as necessary (this may be a more or less continuous process as the night wears on), then match pitches (as applies) with those around you, and play your intervals/chords/scale degrees relative to the prevailing harmony correctly. No easy thing, and nothing much else to do about it except for a lot of listening and playing experience. It's a tough road if you aren't starting out with a fair amount of talent/discrimination/skill in this.
These are the only responses to my question in post #30. Given the Center Pitch literature, they certainly implied that they worked with saxes. TenorTim verified that and is pleased with the results. Not that I'm going to run out and get one. Just thought the marketing concept interesting.
