Verbal Analysis

As described by the tuning's creator, this 8-string tuning feels 'snazzy' and avoids excess 'mud,' offering a clear, articulate sound despite its extended range. The high F# blends particularly well with the B and E strings, creating interesting melodic possibilities and chord voicings that feel both unique and intuitive. For the lower strings, the tuning provides a familiar landscape, playing much like a 7-string in Drop A, making it accessible for players accustomed to that setup while expanding the sonic palette upwards.

Technical Analysis

This 8-string tuning, A1 E2 A2 D3 G3 B3 E4 F5#, presents a powerful and harmonically rich landscape. The low end, A1 E2 A2, establishes a robust foundation, immediately suggesting Drop A characteristics, as noted by the creator. The subsequent D3 G3 B3 E4 closely mirrors the standard intervals of a 6-string guitar's DGBE, providing a familiar framework for lead and rhythm playing in the middle register.

The most distinctive feature is the high F5#, which creates unique harmonic clusters with the adjacent strings. The top three strings, B3 E4 F5#, form a bright and resonant Bsus4 chord (B-E-F#) or an Eadd2 chord (E-F#-B) in inversion. This 'snazzy' combination, as described, offers a sweet, open sound that is ripe for arpeggios, melodic leads, and chimey open voicings. The overall open tuning contains notes A, E, D, G, B, F#, which can imply an A Minor 11 chord with an added #11 (F#), or an E Minor 7 over an A bass, with an added F#, suggesting a rich, modern harmonic vocabulary.

Open chords like A5 (A1-E2-A2), D5 (A2-D3), G5 (D3-G3) are readily available. With the full open tuning, the presence of A, D, G, B, E, F# allows for lush voicings. For instance, an open A major chord (A-C#-E) could be implied by using the A, E, and potentially fretting a C# on the G or D string. The open E and B strings combined with the high F# also make E major or B minor shapes more accessible with minimal effort on the upper strings.

Given that all strings are tuned up, significant tension will be placed on the instrument. Players should consider using lighter gauge strings to prevent excessive tension and potential damage to the guitar's neck, especially since most strings are tuned up 4 or more semitones. Regular neck adjustments may also be necessary.

Tuning Notes

Here are the target notes for each string:

• String 8 (lowest): A1
• String 7: E2
• String 6: A2
• String 5: D3
• String 4: G3
• String 3: B3
• String 2: E4
• String 1 (highest): F5#

How to Tune

Please follow these instructions carefully. All strings are tuned UP, which means increasing tension. When tuning up 4 or more semitones, a different string gauge is strongly advised to prevent excessive tension and potential damage to your instrument.

• String 8: Tune up 3 semitones to A1. This is a significant change, but generally manageable.
• String 7: Tune up 5 semitones to E2. This exceeds the recommended 4 semitone threshold; a lighter gauge string is advised.
• String 6: Tune up 5 semitones to A2. This exceeds the recommended 4 semitone threshold; a lighter gauge string is advised.
• String 5: Tune up 5 semitones to D3. This exceeds the recommended 4 semitone threshold; a lighter gauge string is advised.
• String 4: Tune up 5 semitones to G3. This exceeds the recommended 4 semitone threshold; a lighter gauge string is advised.
• String 3: Tune up 4 semitones to B3. This meets the recommended 4 semitone threshold; a lighter gauge string is advised.
• String 2: Tune up 5 semitones to E4. This exceeds the recommended 4 semitone threshold; a lighter gauge string is advised.
• String 1: Tune up 2 semitones to F5#. This is a significant change, but generally manageable.