Tuning Analysis: Transcale Minor Third Drop

This unique tuning, designed for a Steinberger Synapse Transcale guitar, takes inspiration from a New Standard Tuning (NST) concept but introduces significant variations, creating a wide-ranging and dramatically shifting sonic landscape.

Verbal Analysis

At its core, this tuning aims to lower the traditional NST by a minor third (3 semitones), suggesting a deeper, more resonant foundation. However, the actual note configuration deviates notably, particularly in the middle and highest strings. The initial three strings (A2-E2-B2) establish a very deep, almost bass-like range, offering powerful low-end drone capabilities, reminiscent of a detuned bass or baritone setup. The massive leap from the 4th string (B2) to the 3rd string (F#4) creates an extreme harmonic jump of an octave and a perfect fifth (19 semitones). This 'jump' fundamentally changes how the instrument plays, allowing for the juxtaposition of deep bass notes with very bright, high-pitched melodies or arpeggios. The subsequent major second interval (F#4 to C#5) is more conventional, but the final drop from the 2nd string (C#5) to the 1st string (E4) is highly unconventional, placing the highest string *lower* in pitch than its adjacent string. This 'inverted' high string offers unique voicing possibilities, where lead lines might feel different under the fingers, or where specific harmonies can be achieved that are impossible in standard tunings. It’s a tuning designed for sonic exploration, open voicings, and potentially polyphonic textures rather than conventional chord strumming across all six strings. Players might find themselves using partial chords, arpeggios, or specific melodic fragments that leverage the vast pitch disparities.

Technical Analysis

• Instrument Type: Guitar (specifically noted for a Steinberger Synapse Transcale, which can better accommodate extreme string tensions and lengths).
• Tuning Name (User Provided): While the user named it "a 5ths tuning", the actual intervals present a much more diverse and less consistent intervallic structure than a true all-fifths tuning or even the New Standard Tuning, which has predominantly perfect fifths.
• Tuning Description (User Provided): The original intent was to lower New Standard Tuning (C-G-D-A-E-G) by a minor third to A-E-B-F#3-C#4-E4. However, the implemented tuning significantly alters this by raising the 3rd and 2nd strings by an octave and inverting the highest string.
• Tuning Notes (A2-E2-B2-F#4-C#5-E4):
  • String 6 to 5 (A2 to E2): Perfect Fourth Down (or inverted Perfect Fifth Up). This breaks from a traditional perfect fifth relationship and lowers the 5th string relative to the 6th.
  • String 5 to 4 (E2 to B2): Perfect Fourth Up.
  • String 4 to 3 (B2 to F#4): Octave + Perfect Fifth Up (19 semitones). This is an exceptionally large interval, creating a dramatic sonic gap and placing the 3rd string significantly higher than the 4th.
  • String 3 to 2 (F#4 to C#5): Major Second Up (2 semitones).
  • String 2 to 1 (C#5 to E4): Major Sixth Down (10 semitones down). This is highly unusual, as the 1st string is typically the highest in pitch. The E4 is a full octave lower than the expected E5 from a straight NST minor third drop.
• Open Chords: The open strings (A-E-B-F#-C#-E) do not form a simple major or minor chord. The lowest three strings (A-E-B) offer a deep, resonant quality that can act as a bass foundation. The wide intervals, especially the leap between the 4th and 3rd strings, make standard barre chords or open chord shapes difficult or impossible across all strings. This tuning encourages exploration of partial voicings, arpeggios, and melodic lines that leverage its unique intervallic structure. For instance, power chords could be easily constructed on the lower strings, and the disparate pitches of the upper strings could be used for chiming, dissonant, or highly extended harmonies.

How to Tune

To achieve the 'Transcale Minor Third Drop' tuning from standard E Standard tuning (E2-A2-D3-G3-B4-E4), follow these steps. Please note that significant pitch changes, especially tuning up, may require a different string gauge and should be done with caution to prevent string breakage or damage to the instrument.

• String 6 (Low E): Tune up 5 semitones from E2 to A2. (Warning: Tuning up 5 semitones is a significant increase in tension. A lighter gauge string may be advisable.)
• String 5 (A): Tune down 5 semitones from A2 to E2. (Warning: Tuning down 5 semitones may result in a very loose string with reduced clarity, especially on a standard gauge. A heavier gauge string may be advisable.)
• String 4 (D): Tune down 3 semitones from D3 to B2.
• String 3 (G): Tune down 1 semitone from G3 to F#4.
• String 2 (B): Tune up 2 semitones from B4 to C#5.
• String 1 (High E): Keep as is; no change (0 semitones) from E4 to E4.