This distinctive guitar tuning, famously employed by Kim Gordon of Sonic Youth on their 1995 album 'Washing Machine', is a testament to experimental and low-frequency sonic exploration. It creates a dark, brooding soundscape ideal for noise rock and alternative genres.

Verbal Analysis

This tuning plunges the guitar into incredibly low registers, creating a dense and heavy sonic foundation. With all strings tuned significantly down, particularly the lowest string (standard 6th string) to a rumbling B1 and the next lowest (standard 5th string) to E2, it generates a profound, resonant depth. The absence of the highest E string further compresses the guitar's range, pushing its focus towards the murky, guttural end of the spectrum. The original description notes that the standard 6th string was intended to be in unison with the standard 5th string (both B1), but the provided tuning data specifically details a five-string setup with the lowest string tuned to B1 and the next to E2, forming a strong perfect 4th interval. The overall feel is sludgy, potentially dissonant, and full of raw, unfiltered power, characteristic of Sonic Youth's unconventional sound.

Technical Analysis

The open string notes are B1 E2 G2 D3 B2, listed from the lowest playable string (standard 6th string) to the highest available (standard 2nd string). This tuning is derived from standard EADGBe, with the standard 6th, 5th, 4th, 3rd, and 2nd strings significantly de-tuned, and the highest E string (standard 1st string) omitted. The intervals between adjacent strings are irregular: a Perfect 4th (B1-E2), followed by a Minor 3rd (E2-G2), then another Perfect 4th (G2-D3), and finally a descending Minor 3rd (D3-B2, which can also be viewed as a Minor 6th up or a Minor 3rd down an octave). This irregular pattern ensures that standard chord shapes are largely unusable, encouraging open, droning textures and intervallic exploration rather than traditional harmony. The presence of B1 and B2 provides a powerful octave root, reinforcing the low-end presence.

Open Chords and Reach

While not designed for conventional strumming, the open strings (B1 E2 G2 D3 B2) form an interesting cluster of notes. These can be interpreted as elements of a G major 6th chord (G B D E) or an E minor 7 flat 5 chord (E G B D B). This suggests a strong minor or modal tonality, particularly around G, E, or B. The large interval drops make playing traditional barre chords impractical. However, power chords (root-5th-octave) will be straightforward on the lowest two strings (B1-E2) due to the perfect 4th interval. The unique intervallic structure encourages players to experiment with open string drones, two or three-note clusters, and sustained, resonant sounds, rather than traditional chord voicings. The overall heavy detuning necessitates very heavy gauge strings to maintain proper intonation and avoid floppiness.

Open String Notes

• String 6 (Standard Low E): B1
• String 5 (Standard A): E2
• String 4 (Standard D): G2
• String 3 (Standard G): D3
• String 2 (Standard B, Highest available): B2
• String 1 (Standard High E string): Removed

How to Tune (from Standard EADGBe)

• String 6 (Standard Low E to B1): Tune down 5 semitones. This is a significant drop; very heavy gauge strings are advised for optimal tension and tone.
• String 5 (Standard A to E2): Tune down 5 semitones. This is a substantial drop; very heavy gauge strings are advised.
• String 4 (Standard D to G2): Tune down 7 semitones. This is a considerable drop, an entire perfect fifth down; very heavy gauge strings are strongly advised.
• String 3 (Standard G to D3): Tune down 5 semitones. This is a notable drop; very heavy gauge strings are advised.
• String 2 (Standard B to B2): Tune down 12 semitones (one full octave). This is an extreme drop; extremely heavy gauge strings are essential to maintain playability and intonation. Alternatively, consider a wound string in this position.
• String 1 (Standard High E): Remove this string as per the original tuning description.

Due to the extreme nature of these tuning changes, particularly the drops exceeding 4 semitones, it is highly recommended to use significantly heavier gauge strings than standard to prevent string floppiness and ensure proper intonation and playability.