Tuning Analysis: Drop A (Drone Rock Variant)

This unique tuning, identified as "Drop A" by its creator, is specifically crafted for the sonically crushing realms of drone rock, doom, and stoner rock. It deviates significantly from conventional "Drop A" tunings, offering an incredibly wide dynamic range and deliberately dissonant intervals to achieve a massive, heavy, and often unsettling soundscape.

Verbal Analysis

The creator's description perfectly captures the essence of this tuning: it's built for sonic impact. The combination of extremely low bass notes (E2, A2) with a piercingly high F#5 creates a vast, almost cavernous soundstage. The presence of A#3 on the lowest string, juxtaposed with A2 on the 4th string, is central to its "drone" character, producing a thick, grinding dissonance rather than clean harmony. This isn't a tuning for easy pop songs; it demands aggressive playing, heavily distorted tones, and a willingness to explore sound textures that push boundaries. The extreme string tension variations, particularly the F#5, suggest a highly specialized approach to string choice and playing style, likely favoring slow, sustained power chords and single-note riffs over intricate lead work.

Technical Analysis

The open string notes are A#3 E2 A2 D3 F#5 B3. Let's break down the intervals and implications:

• Low End Foundation: The E2 (5th string) and A2 (4th string) provide a genuinely heavy, low-octave perfect 4th interval, forming the core of your heavy riffs.
• Drone Dissonance: The A#3 on the 6th string, immediately adjacent to A2, creates a powerful minor 2nd (or major 7th if A is root) dissonance. This interval is the engine for the described "drone rock" sound, delivering a thick, clashing texture.
• Mid-Range Structure: The D3 on the 3rd string creates a perfect 4th with the A2 below it (A2-D3). Strumming E2-A2-D3 (5th-4th-3rd strings) yields an open Em11 chord fragment (missing the G) or can be perceived as an Aadd11 without the root, offering a dark, open texture.
• Extreme High End: The F#5 on the 2nd string is remarkably high – almost two octaves above standard B3. This note will cut through any mix, providing a shrill, siren-like quality. Its interval with the B3 on the 1st string (B3 to F#5) is a compound perfect 4th (F# is the 5th of B), adding to the complex harmonic structure.
• Overall Dissonance: Strumming all open strings (A#3 E2 A2 D3 F#5 B3) results in a highly dissonant, almost atonal cluster, featuring a minor 2nd (A#/A), perfect 4ths (E/A, A/D), and compound intervals leading to the high F#5 and B3. This is a tuning designed to create tension and sonic density.

Chords and Playability

Due to the extreme intervals, especially the jump from D3 to F#5 and then down to B3, traditional chord shapes are largely impractical or will sound radically different. This tuning encourages a different approach:

• Power Chords: The lowest three strings (A#3, E2, A2) are excellent for thick, muddy power chords, though the A#3 adds a deliberate clash. Muting the 6th string and playing 5th and 4th strings (E2, A2) creates a solid, heavy open E5 (or A5 depending on interpretation). Moving this shape up the neck will yield standard power chords.
• Drone Textures: Open strings strummed together will produce rich, complex drones. Experiment with omitting certain strings (e.g., muting the 6th string for a cleaner A5 foundation with E2, A2, D3) to find different harmonic textures.
• Single-Note Riffing: The vast range makes it ideal for single-note, heavy riffs that utilize both the subterranean bass and the piercing high notes for dramatic contrast.
• Melodic Phrases: The high F#5 and B3 can be used for stark, almost metallic lead lines that cut through the dense lower register.

How to Tune

This tuning requires significant adjustments from standard EADGBe tuning. Due to the extreme changes, particularly tuning up 6 and 7 semitones and down 5 semitones on multiple strings, it is strongly advised to use a different gauge of strings specifically suited for these tensions to prevent string breakage, damage to your guitar, and to ensure proper intonation and playability.

• 6th String (Low E): Tune up 6 semitones from E to A#3. (A different gauge string is advised.)
• 5th String (A): Tune down 5 semitones from A to E2. (A different gauge string is advised.)
• 4th String (D): Tune down 5 semitones from D to A2. (A different gauge string is advised.)
• 3rd String (G): Tune down 5 semitones from G to D3. (A different gauge string is advised.)
• 2nd String (B): Tune up 7 semitones from B to F#5. (Extreme care must be taken. A different gauge string is highly advised, as this is a very significant tension increase.)
• 1st String (High E): Tune down 5 semitones from E to B3. (A different gauge string is advised.)

6th String: A#3 - The lowest string is tuned to A sharp in the 3rd octave, providing a deep, resonant, and often dissonant foundation.

5th String: E2 - Tuned to a very low E in the 2nd octave, offering immense depth and power, forming a powerful low end with the 4th string.

4th String: A2 - Tuned to a deep A in the 2nd octave, it complements the E2 to create a heavy, open perfect 4th interval.

3rd String: D3 - Tuned to D in the 3rd octave, this string bridges the gap between the very low notes and the extremely high notes.

2nd String: F#5 - This string is tuned to an extremely high F sharp in the 5th octave, providing a piercing, almost siren-like quality.

1st String: B3 - The highest string is tuned to B in the 3rd octave, offering a contrasting, yet still quite high, melodic voice against the lower strings.