The Louis S Ramirez tuning is a deeply resonant and unique drop tuning, characterized by its exceptionally low bass string. As described, it's a "Drop Tuning further dropped a minor third (NOT a reentrant tuning)," hinting at a powerful and potentially heavy soundscape. The comparison to "Zyglrox" tuning (AGCFAD) but "up a major second" suggests a departure from conventional guitar voicings, creating an open sound with distinct harmonic possibilities.

Verbal Analysis

This tuning cultivates a dark and heavy sonic character, driven by the impressively low B1 on the 6th string. It immediately brings to mind genres like progressive metal, doom metal, or experimental rock, where deep, rumbling bass lines are paramount. The retention of standard intervals on the upper five strings (A D G B E) allows for familiar chord shapes and scales to be played in higher registers, while the profound low B string acts as a singular, thunderous foundation. The description highlights a particularly interesting feature: "what is normally a power chord shape on the lowest strings yields the octave." This means that a common two-finger power chord shape (root on 6th string, and the 5th string two frets higher) will produce a robust octave, rather than a perfect fifth. This design provides an incredibly thick and impactful low-end for riffs, enabling a powerful, single-note bass presence that rings with authority.

Technical Analysis

Starting from standard EADGBe tuning, the Louis S Ramirez tuning significantly alters only the lowest string. The target notes are B1-A2-D3-G3-B3-E4 (from 6th to 1st string). The intervals between the strings are as follows:

• 6th String (B1) to 5th String (A2): Major 7th (11 semitones)
• 5th String (A2) to 4th String (D3): Perfect 4th (5 semitones)
• 4th String (D3) to 3rd String (G3): Perfect 4th (5 semitones)
• 3rd String (G3) to 2nd String (B3): Major 3rd (4 semitones)
• 2nd String (B3) to 1st String (E4): Perfect 4th (5 semitones)

The most striking feature is the enormous Major 7th interval between the 6th and 5th strings (B1 to A2). This wide gap is what facilitates the octave voicing when employing a common power chord shape, as playing a note on the 6th string and two frets higher on the 5th string will result in the same note an octave higher (e.g., 6th string open B1, 5th string 2nd fret B2). The upper five strings (A2-D3-G3-B3-E4) maintain the relative intervals of standard tuning's A-D-G-B-E, providing a familiar framework for chord voicings and melodic work above the deep bass.

Open Chords & Voicings

The open strings B-A-D-G-B-E form a complex, extended chord, primarily rooted in B:

• B (Root)
• D (Minor 3rd)
• E (Perfect 4th/Sus4)
• G (Minor 6th)
• A (Minor 7th)
• B (Octave)

This creates an open B minor 7 (add4, add6) chord, or a B Dorian-flavored sonority (B D E G A). It's not a simple triad, allowing for rich, resonant open voicings that can be dissonant or surprisingly beautiful depending on context. The ability to easily play octaves on the lowest two strings opens up possibilities for very thick, single-note bass lines and powerful chugging riffs. Furthermore, standard chord shapes can be employed on the upper five strings (A-D-G-B-E), creating versatile harmonic layers over the deep, driving low B.

Tuning Notes

• 6th String: B1
• 5th String: A2
• 4th String: D3
• 3rd String: G3
• 2nd String: B3
• 1st String: E4

How to Tune

To achieve the Louis S Ramirez tuning from standard EADGBe, follow these steps:

• 6th String (Low E): Tune down 5 semitones to B1.
• 5th String (A): Keep as is; no change (0 semitones). It remains A2.
• 4th String (D): Keep as is; no change (0 semitones). It remains D3.
• 3rd String (G): Keep as is; no change (0 semitones). It remains G3.
• 2nd String (B): Keep as is; no change (0 semitones). It remains B3.
• 1st String (High E): Keep as is; no change (0 semitones). It remains E4.

Important Note: Tuning the 6th string down by 5 semitones is a significant alteration. While generally safe, if you intend to use this tuning frequently or experience excessive string slack, considering a heavier gauge string for the lowest string is highly recommended for optimal tone, intonation, and playability.