Verbal Analysis

The "7 Strings Open Bbsus 4" tuning, as suggested by its name and description, delivers a deep, resonant sound characteristic of open suspended chords, specifically a Bbsus4. This tuning is explicitly mentioned as being a favourite for "many Djent Metal Bands" and promises to be "Pretty fun doh!" for players looking to explore extreme low-end riffing and atmospheric textures.

When strummed open, this tuning produces a rich, full sound with a distinct suspended quality. The arrangement of notes, particularly the repeated F and A# (Bb) across different octaves, creates a powerful drone that is perfect for heavy, percussive rhythmic work. The open Bbsus4 chord provides a ready-made sonic foundation for djent-style chugging, allowing for complex polyrhythms to emerge from simple fingerings. Players will find that power chords are incredibly easy to form by simply barring across certain strings, and the wide intervals offer vast possibilities for creative voicing and extended melodic lines, particularly within the lower register. This tuning encourages a style of playing that leverages the open string resonance and the sympathetic vibrations, especially conducive to genres demanding a massive, wall-of-sound aesthetic.

Technical Analysis

This is a 7-string tuning. From the lowest (thickest) string to the highest (thinnest) string, the open notes are:

• String 7: A#2 (Bb2)
• String 6: F2
• String 5: A#3 (Bb3)
• String 4: D#4 (Eb4)
• String 3: F3
• String 2: A#4 (Bb4)
• String 1: D#5 (Eb5)

The overall open voicing across the seven strings consists of the notes F, A# (Bb), and D# (Eb). This creates a powerful Bbsus4 chord with an F in the bass (Bbsus4/F), or an Eb Major triad over an F bass (Eb/F). This harmonic structure provides a strong, suspended tonality.

Key interval relationships for playability include:

• Octaves: Convenient octaves are available across strings, such as F2 (String 6) and F3 (String 3), and A#2 (String 7), A#3 (String 5), and A#4 (String 2), making it easy to create full, thick sounds.
• Perfect Fourths: Several strings are tuned a perfect fourth apart (e.g., A#3 to D#4, A#4 to D#5), which facilitates common power chord shapes and arpeggiation patterns.
• Wide Intervals: The tuning incorporates wide intervals, such as between String 6 (F2) and String 5 (A#3), which span an octave and a perfect fourth. This allows for interesting harmonic stretches and unique voicings, particularly effective for modern metal styles.

Tuning Notes

The open notes for the 7 Strings Open Bbsus 4 tuning, from the lowest (thickest) string to the highest (thinnest) string, are as follows:

• String 7: A#2 (Bb2)
• String 6: F2
• String 5: A#3 (Bb3)
• String 4: D#4 (Eb4)
• String 3: F3
• String 2: A#4 (Bb4)
• String 1: D#5 (Eb5)

How to Tune

To achieve the 7 Strings Open Bbsus 4 tuning, starting from a standard 7-string B-E-A-D-G-B-E tuning (from lowest to highest string), please follow these instructions carefully:

• String 7 (Low B): Tune down 1 semitone from B2 to A#2 (Bb2).
• String 6 (E): Tune up 1 semitone from E2 to F2.
• String 5 (A): Tune up 1 semitone from A3 to A#3 (Bb3).
• String 4 (D): Tune up 1 semitone from D4 to D#4 (Eb4).
• String 3 (G): Tune down 2 semitones from G3 to F3.
• String 2 (B): Tune down 1 semitone from B4 to A#4 (Bb4).
• String 1 (High E): Tune down 1 semitone from E5 to D#5 (Eb5).

Important Note: When tuning, always exercise caution, especially when tuning strings up. Large changes in tension can stress the neck and strings. Movements of more than 4 semitones up or down are significant, and it is generally advised to consider a different string gauge to ensure optimal playability and to prevent potential damage to your instrument or strings. For this specific tuning, all string movements are within the +/- 2 semitone range, which is generally safe for most standard gauges, but careful and gradual tuning is always recommended.