The Bass VI Beyoki LID Tuning is an incredibly unique and exceptionally low-pitched tuning for the Bass VI, drawing inspiration from the early, heavy soundscapes of Bring Me The Horizon's debut album. This tuning pushes the boundaries of conventional string instrument setups, offering a sonic palette geared towards deep, resonant heaviness combined with unconventional harmonic possibilities.

Technical Analysis

This tuning is defined by the open string notes: B0, F#2, B1, E2, G#3, C#4 (from String 6 to String 1). A crucial and highly unusual aspect of this tuning is the non-monotonic pitch order of its lower strings: String 5 (F#2) is tuned significantly higher than String 4 (B1). This deviates from standard guitar or bass tunings where strings typically ascend in pitch from lowest to highest. This arrangement implies a very specific approach to playing and chord voicings.

• Extreme Low End: The 6th string tuned to B0 provides an exceptionally deep foundation, even lower than typical drop tunings for a Bass VI. This is perfect for creating earth-shattering riffs and immense sonic weight, characteristic of early metalcore and deathcore.
• Unconventional Intervals: The most striking feature is the interval between String 6 (B0), String 5 (F#2), and String 4 (B1). String 5 (F#2) is a remarkable 18 semitones above String 6 (B0), and critically, it is 7 semitones (a perfect fifth) above String 4 (B1). This means an open strum will produce a highly idiosyncratic and potentially dissonant sound depending on interpretation.
• Harmonic Content: Despite the unusual string order, the collective open notes (B, E, F#, G#, C#) contain elements of a B major tonality, specifically a Badd2add4add6 (B major with added 2nd, 4th, and 6th, or Bmaj9(no3rd)). However, due to the extreme octave displacements and the non-ascending pitch order, these notes are spread across a vast range.

Musical Implications & Playability

Given its highly unconventional nature, this tuning is likely designed for specific riff-based playing rather than traditional chord shapes. The ultra-low B0 and B1 can be utilized for crushing, rhythmic patterns, while the higher strings (E2, F#2, G#3, C#4) can introduce melodic elements or dissonant clusters. Open chords in a traditional sense will be complex due to the string ordering; however, by selectively picking or muting, interesting voicings can be achieved. For example, playing the 6th, 4th, and 3rd strings (B0, B1, E2) forms a powerful B power chord (B-B-E). Adding the 5th string (F#2) would introduce the perfect fifth, but in a higher octave than the root, creating a very wide B5 chord with an F# an octave above the B. The higher strings also present opportunities for bright, piercing melodic lines or arpeggiated figures that cut through the thick low end.

This tuning encourages exploration beyond standard fingering patterns and demands a player who is comfortable with unconventional approaches to harmony and melodic construction, perfectly aligning with the experimental and heavy nature of its inspiration.

How to Tune

To achieve the Bass VI Beyoki LID Tuning, follow these instructions for each string. Given the extreme intervals, ensure your instrument is properly intonated after tuning, and always tune slowly and carefully.

• String 6 (Lowest): Tune to B0 by tuning down 2 semitones.
• String 5: Tune to F#2. Keep as is; no change (0 semitones).
• String 4: Tune to B1. Keep as is; no change (0 semitones).
• String 3: Tune to E2. Keep as is; no change (0 semitones).
• String 2: Tune to G#3 by tuning down 1 semitone.
• String 1 (Highest): Tune to C#4 by tuning down 1 semitone.

Note: All string movements are relatively minor (within +/- 2 semitones from their implied starting points). Always listen carefully and use a reliable tuner.

String 6 (Lowest): B0

String 5: F#2

String 4: B1

String 3: E2

String 2: G#3

String 1 (Highest): C#4