Verbal Analysis: This highly unconventional tuning, described evocatively as "the open tuning off mayonnaise way downtuned," plunges your guitar into extremely low registers. It creates a dark, thick, and somewhat dissonant soundscape with its deeply dropped strings. The open notes resonate with a rich, almost sludgy texture, potentially evoking a sense of foreboding or melancholic depth. The repeated E on the 5th and 4th strings creates an unusual thickness in the mid-range, while the high G# on the first string adds a contrasting bright, almost biting tension against the otherwise low and brooding foundation. This is not a tuning for conventional playing; it invites experimentation with drones, heavy riffs, and atmospheric textures.

Technical Analysis: From a theoretical standpoint, the open strings (A1 E2 E2 C3 E3 G#4) form an A minor Major Seventh (Am(maj7)) chord, specifically voiced very wide. The presence of A (root), C (minor third), E (perfect fifth), and G# (major seventh) creates this complex harmony. The two E's (E2, E3) span an octave, adding density to the fifth of the chord. The lowest A1 provides a profound bass foundation, while the highest G#4 offers a piercing, almost questioning top note. This tuning drastically reconfigures the fretboard, rendering standard chord shapes unusable. However, it naturally provides an A minor(maj7) chord when strummed open. Moving a single finger across a fret could yield interesting cluster chords or inversions. The significant downtuning across all strings means that light gauge strings are likely to be extremely loose and floppy, making heavier gauge strings advisable for proper tension and intonation, especially with the extremely low A1.

How to Tune:

To achieve this extreme downtuning from standard EADGBe, carefully adjust each string as follows. Given the significant degree of tuning down, using a heavier gauge string set is strongly advised to maintain proper tension, intonation, and playability, especially for string movements exceeding 4 semitones up or down. All strings in this tuning exceed this threshold.

• 6th String (Low E): Tune down 7 semitones to A1. (Requires a heavier gauge string).
• 5th String (A): Tune down 5 semitones to E2. (Requires a heavier gauge string).
• 4th String (D): Tune down 10 semitones to E2. This is a massive drop; a very heavy gauge string is essential here.
• 3rd String (G): Tune down 7 semitones to C3. (Requires a heavier gauge string).
• 2nd String (B): Tune down 7 semitones to E3. (Requires a heavier gauge string).
• 1st String (High E): Tune down 8 semitones to G#4. This is also a very significant drop; a heavier gauge string is recommended.

Here are the notes for each string, from thickest (6th) to thinnest (1st):

• 6th String (Low A): Tuned to A1. This is an extremely low note, two octaves and a major third below standard low E.
• 5th String (Mid E): Tuned to E2. This is an octave and a half below standard A.
• 4th String (Mid E): Tuned to E2. Unusually, this string is tuned to the exact same note and octave as the 5th string, creating a thick unison or octave effect with string 2 (E3).
• 3rd String (Mid C): Tuned to C3. A minor third below standard G.
• 2nd String (Higher E): Tuned to E3. A perfect fourth below standard B.
• 1st String (High G#): Tuned to G#4. This is a major third above standard high E.