Tuning Analysis: Standard 9 String

This 'Standard 9 String' tuning is a profound expansion of the guitar's sonic capabilities, building upon the foundations of 7- and 8-string instruments. As the accompanying description highlights, this specific configuration focuses on adding an extra low-tuned string, propelling the instrument into exceptionally deep registers and offering a vast harmonic palette. It's often associated with guitars featuring an extended scale length, such as 712 mm (28 inches) on models like the Ibanez RG9, which helps maintain optimal string tension and intonation for these lower pitches.

From a technical standpoint, the strings are tuned from lowest (thickest) to highest (thinnest) as follows: C#2, F#2, B1, E2, A2, D3, G3, B3, E4. An immediate and significant observation is that strings 6 through 1—E2, A2, D3, G3, B3, E4—mirror the exact intervallic relationships of standard EADGBe tuning, albeit shifted down by two full octaves from a typical 6-string guitar. This means that all familiar chord shapes, scales, and arpeggios learned in standard tuning are directly transferable to these six strings, providing a solid and versatile foundation for players.

The true depth and unique character of this tuning emerge from the three additional lower strings: String 9 (C#2), String 8 (F#2), and String 7 (B1). These strings extend the instrument's range into remarkably low frequencies, making it particularly well-suited for genres like djent, progressive metal, and other experimental styles that demand colossal, articulate bass tones and intricate low-end riffing. The B1 note on String 7 is exceptionally deep, providing a formidable sonic foundation.

While the full open tuning (C#2, F#2, B1, E2, A2, D3, G3, B3, E4) does not form a single simple open chord, the presence of the E-A-D-G-B-E segment (strings 6-1) allows for immediate access to countless standard open chords and barre chords within that range, simply at a much lower pitch. For example, an open E minor chord can be effortlessly formed using the open E2 (string 6), G3 (string 3), B3 (string 2), and E4 (string 1). The lowest strings (C#2, F#2, B1) are invaluable for crafting massive power chords, heavy single-note riffs, and intricate bass lines. An open B power chord, for instance, can be created with B1 on String 7 and F#2 on String 8, offering a truly guttural sound. The ability to span such a vast range from B1 to E4 provides unparalleled harmonic and melodic possibilities.

The tuning description also mentions that tuning the highest string to A4 or higher might necessitate a shorter scale length or the use of a thinner gauge string, such as a .008 or .007, to achieve the desired tension and pitch.

How to Tune

This section describes the specific pitches for each string. Since the provided data indicates no movements from a standard tuning, these are the target notes directly. Use a chromatic tuner to achieve these precise pitches:

• String 9 (Lowest): Tune to C2#. Keep as is; no change (0 semitones).
• String 8: Tune to F2#. Keep as is; no change (0 semitones).
• String 7: Tune to B1. Keep as is; no change (0 semitones).
• String 6: Tune to E2. Keep as is; no change (0 semitones).
• String 5: Tune to A2. Keep as is; no change (0 semitones).
• String 4: Tune to D3. Keep as is; no change (0 semitones).
• String 3: Tune to G3. Keep as is; no change (0 semitones).
• String 2: Tune to B3. Keep as is; no change (0 semitones).
• String 1 (Highest): Tune to E4. Keep as is; no change (0 semitones).

As all strings are noted as having 'no change' in semitones, this means the tuning provided is the target state itself, rather than a modification from a different tuning. It is crucial to use appropriate heavy gauge strings for the very low C#2, F#2, and especially B1 to ensure proper tension, intonation, and a clear, tight tone without excessive floppiness.

String 9: C2#

String 8: F2#

String 7: B1

String 6: E2

String 5: A2

String 4: D3

String 3: G3

String 2: B3

String 1: E4