Verbal Analysis

This is a highly aggressive and resonant 7-string tuning, often favored by modern metal and progressive guitarists, notably popularized by artists like Keith Merrow. It's designed to provide an incredibly deep, guttural low-end foundation while offering a versatile upper register for intricate melodies and powerful chord voicings.

The most striking feature is the unique A# F A# structure on the lowest three strings. This creates a powerful and somewhat dissonant diminished fifth (tritone) interval between the 7th (A#) and 6th (F) strings, which then resolves to an octave A# on the 5th string. This allows for massive, unique "power chord" shapes and riffs with a distinct, heavy character, moving beyond the traditional root-fifth-octave. The upper strings (D# G# C F) offer a blend of perfect fourths and a minor third, providing a familiar yet fresh landscape for melodic and lead playing that complements the crushing low end.

Technical Analysis

• Root Note: The tuning is centered around A#2 on the 7th (lowest) string, establishing a very deep and heavy foundation.
• Lowest Three Strings (A#2 F2 A#3): These strings form a unique Root - Diminished 5th (tritone) - Octave interval structure (A# - F - A#). This is not a standard power chord but offers a distinct dissonant voicing that can be used for exceptionally heavy and dark riffs, especially in genres requiring more harmonic tension.
• Upper String Intervals:
  • A#3 (5th) to D#4 (4th): Perfect Fourth (5 semitones)
  • D#4 (4th) to G#4 (3rd): Perfect Fourth (5 semitones)
  • G#4 (3rd) to C4 (2nd): Minor Third (4 semitones). This interval is a key deviation from standard tuning (which would typically be a major third or another perfect fourth), influencing chord shapes and voicings significantly.
  • C4 (2nd) to F4 (1st): Perfect Fourth (5 semitones)
• Overall Harmonic Character: This tuning excels in generating huge, open, and dissonant voicings, perfect for chugging riffs and extended range solos. The G#-C minor third interval on the middle-upper strings gives a slightly different feel to common chord shapes and encourages exploring new harmonic possibilities.

Open Chords & Reachable Shapes

The open strings themselves don't form a conventional major or minor chord, but rather a powerful, dissonant cluster. However, the unique structure opens up possibilities:

• Low-End Power: Barre chords across the 7th, 6th, and 5th strings will always yield a Root - Diminished 5th - Octave. For example, barring at the 1st fret gives you C - Gb - C. This specific voicing is excellent for creating heavy, unsettling, and unique riff textures.
• Upper String Voicings: The D# G# C F section, with its predominant perfect fourths, allows for movable chord shapes that often work across these strings. For instance, playing an open G#m7 shape using the 3rd, 2nd, and 1st strings (G# C F) forms a G# minor seventh chord (G# Root, C minor third, F minor seventh), which is a very usable dark and expressive chord.
• Extended Chords: The wide range and specific intervals encourage the creation of complex, extended chords and open voicings, especially when incorporating the low A# and F.

How to Tune

To achieve the A# Drop Octave (7-string) tuning, follow these precise string movements:

• 7th String: Tune down 1 semitone to A#2.
• 6th String: Tune up 1 semitone to F2.
• 5th String: Tune up 1 semitone to A#3.
• 4th String: Tune up 1 semitone to D#4.
• 3rd String: Tune up 1 semitone to G#4.
• 2nd String: Tune up 1 semitone to C4.
• 1st String: Tune up 1 semitone to F4.

Note: All string movements are within 1 semitone, so a standard string gauge should be perfectly suitable. For tuning stability, always tune up to the note, or if tuning down, pass the note and then tune up to it.