Verbal Analysis

"Lake Monsters 3" is an exceptionally unconventional and experimental tuning, living up to its creator's description of "weird." It features some truly dramatic shifts in pitch between adjacent strings, particularly the drop from the 3rd to the 2nd string (F#4 to E3) and the massive leap from the 2nd to the 1st string (E3 to F#5). This suggests it's designed for a very specific sonic palette, likely favouring arpeggiated figures, melodic lines that cross multiple strings in unusual ways, or drone-based textures rather than traditional strummed chords. The low A-A octave on the bass strings provides a strong, resonant foundation, but the upper strings introduce highly unusual voicings that will challenge conventional guitar playing.

Technical Analysis

This tuning presents a unique and challenging landscape for guitarists accustomed to standard intervals. Let's examine the open string notes and their relationships from lowest to highest string:

• 6th String (A1) to 5th String (A2): A perfect octave (12 semitones). This provides a rich, deep foundation.
• 5th String (A2) to 4th String (E3): A perfect fifth (7 semitones). This is a common and consonant interval, reinforcing an A-E power chord.
• 4th String (E3) to 3rd String (F#4): A major ninth (14 semitones). This is a very wide interval, spanning more than an octave, adding significant tension or brightness.
• 3rd String (F#4) to 2nd String (E3): A descending major ninth (14 semitones down). This is highly unusual; the 2nd string is tuned lower than the 3rd string. This inversion will profoundly impact fingerings and scales, breaking traditional ascending string patterns.
• 2nd String (E3) to 1st String (F#5): A major seventeenth (26 semitones). This is an exceptionally vast interval, spanning two full octaves plus a major second. This creates an extremely bright and high-pitched treble string in relation to its neighbour, making standard chord voicings across these strings virtually impossible and highlighting a strong melodic or textural intent for the highest string.

The open strings A1-A2-E3-F#4-E3-F#5 can be analyzed harmonically. The primary notes are A, E, and F#. This combination strongly suggests an A power chord (A-E) with an added F#. If A is considered the root, F# functions as a major 6th, creating a strong A5(add6) type of sound. Alternatively, considering E as a root, the A would be a perfect 4th and F# a major 2nd, leading towards an Esus4(add9) type of sound. The repetition of E3 on strings 4 and 2, along with the F# on strings 3 and 1, creates interesting internal doublings. Standard open chords will be drastically altered or unavailable, requiring a completely new and experimental approach to chord voicings and melodic construction.

How to Tune (from Standard E-A-D-G-B-e)

Given the extreme string movements, exercise significant caution during tuning. For strings with significant drops (-7 semitones), consider using a heavier gauge string to maintain adequate tension and avoid floppiness. For strings with significant raises, ensure your guitar can handle the increased tension.

• 6th String (Low E): Tune down 7 semitones to A1. A thicker gauge string is highly recommended for this substantial drop.
• 5th String (A): Keep as is; no change (0 semitones) to A2.
• 4th String (D): Tune up 2 semitones to E3.
• 3rd String (G): Tune down 1 semitones to F#4.
• 2nd String (B): Tune down 7 semitones to E3. A thicker gauge string is highly recommended for this substantial drop.
• 1st String (High e): Tune up 2 semitones to F#5.

String 6: A1

String 5: A2

String 4: E3

String 3: F#4

String 2: E3

String 1: F#5