Reynolds Tuning Analysis

This unique tuning, known as Reynolds Tuning, is described by its creator as being essential for playing complex drop-tuned pieces that are otherwise unachievable in standard configurations. It’s a profoundly dropped tuning across all strings, designed to unlock specific sonic textures and voicings.

Verbal Analysis

The Reynolds Tuning creates an incredibly deep and resonant soundscape. With all strings tuned significantly down, it ventures into a territory often associated with modern progressive, djent, or experimental metal genres, offering a sludgy, guttural bottom end. The lowest two strings, tuned to A#2 and F2, provide a foundation of immense power and depth. The presence of octaves (A#2-A#3, F2-F3) on the lower strings, combined with the higher A3 and D4, leads to a very wide, open, and potentially dissonant or suspended harmonic structure. This tuning is likely ideal for creating huge, ringing chords, complex arpeggios that utilize its unique intervals, or extremely heavy single-note riffs that require a lower register than standard tunings can provide. Its openness suggests an ability to ring out with unique overtones, making it suitable for atmospheric passages as well as crushing, low-end rhythms. Chords will not follow traditional shapes, encouraging exploration of new fingerings and voicings, particularly across the octaved lower strings.

Technical Analysis

This tuning is set for a standard Guitar. The open notes are as follows: A#2, F2, A#3, F3, A3, D4 (from low E to high E string). Let's examine the intervals from the lowest string:

• 6th String (A#2): The fundamental low note.
• 5th String (F2): A perfect fifth below A#2 (or a diminished fifth above A#2, if viewed enharmonically as Bb2 to F2, it is a perfect 5th down).
• 4th String (A#3): An octave higher than the 6th string, reinforcing the root.
• 3rd String (F3): An octave higher than the 5th string, reinforcing the fifth.
• 2nd String (A3): A major third above the 3rd string's F3, or a major seventh above the 6th string's A#2.
• 1st String (D4): A perfect fourth above the 2nd string's A3, or an augmented eleventh (or perfect fourth) above the 6th string's A#2.

The open strings themselves form a complex chord: A#2 - F2 - A#3 - F3 - A3 - D4. This can be interpreted as an A#maj7sus4(add11) or an Fadd9/Bb. Specifically, starting from A# as the root, we have A# (root), F (P5 below/D4 above), A# (octave), F (P5 below/D4 above), A (Major 7th), D (Perfect 4th). This creates a very rich, open, and potentially dissonant or suspended chord. The immediate octaves on the lowest two string pairs (6th/4th and 5th/3rd) will make power chords and heavy riffs exceptionally easy to execute on these string sets, while the higher strings introduce intriguing melodic and harmonic possibilities.

How to Tune

This tuning involves significant downward adjustments from standard E Standard tuning. Please tune each string carefully, checking with a reliable tuner.

• 6th String (Low E): Tune down 6 semitones to A#2. Caution: Tuning down 6 semitones is a substantial change. Consider using a heavier gauge string for optimal tension and tone.
• 5th String (A): Tune down 4 semitones to F2. Caution: Tuning down 4 semitones is a significant change. A heavier gauge string may be advisable.
• 4th String (D): Tune down 4 semitones to A#3. Caution: Tuning down 4 semitones is a significant change. A heavier gauge string may be advisable.
• 3rd String (G): Tune down 2 semitones to F3.
• 2nd String (B): Tune down 2 semitones to A3.
• 1st String (High E): Tune down 2 semitones to D4.

The open strings for Reynolds Tuning are:

• 6th String: A2#
• 5th String: F2
• 4th String: A3#
• 3rd String: F3
• 2nd String: A3
• 1st String: D4