Verbal Analysis: The Sound of "Sour"

Straight from the band's own description, this custom tuning, affectionately named "Sour," is crafted to deliver a very specific and memorable sound for their music. It's clear this isn't a conventional tuning; it's a deliberate choice to achieve a unique sonic character that likely aims for depth, tension, and a raw edge. The original note, "the tuning for my band innit. always forget it, pease help," perfectly captures the essence of a guitarist needing to document a bespoke setup for their signature sound.

This tuning feels dark, heavy, and potentially quite dissonant or melancholic due to its unusual intervals. The low D provides a powerful foundation, while the combination of a sharp (A#) and a flattened note (F) within what could be a D minor context suggests a sound that is both robust and emotionally complex. It's designed to make an impact, offering a palette of tones that wouldn't be easily found in standard tuning.

Technical Analysis: D-A-A#-F-A-F

The "Sour Band Tuning" for a six-string guitar is D2-A2-A#3-F3-A3-F4. Let's break down the intervals and potential implications:

• String 6 (D2): Tuned to D2, providing a very deep and resonant low end. This anchors the tuning in D, allowing for powerful open D-based riffs and drones.
• String 5 (A2): A perfect fifth above D2, this creates an immediate and strong D5 power chord with the lowest string. This interval is highly stable and punchy.
• String 4 (A#3): Here's where the tuning takes a very distinct turn. This note is an octave and a semitone (13 semitones) above A2. This is a very large leap for adjacent strings, creating a wide, open voicing that emphasizes the A#. Harmonically, this A# acts as an augmented fifth to D or a minor sixth (Bb) depending on context. This note introduces a strong dissonance or a bluesy/jazz flavor if interpreted as Bb.
• String 3 (F3): A diminished fifth (tritone) below A#3, or a minor third (3 semitones) above D2. This F provides the minor third quality to a potential D minor chord, adding to the dark mood. The tritone interval with the 4th string adds significant tension.
• String 2 (A3): A major third above F3, and an octave above the 5th string A2. This reinforces the A note across octaves, offering a ringing quality.
• String 1 (F4): An augmented fifth (or minor sixth) above A3, and an octave above F3. This high F further reinforces the minor tonality and contributes to the overall dense and unique harmonic structure.

Open Chords and Sonic Landscape:

The open strings D-A-A#-F-A-F (D2, A2, A#3, F3, A3, F4) present a complex voicing. The core D, F, and A suggest a D minor tonality. The prominent A# (or Bb) on the 4th string adds significant character. This could be interpreted as a D minor chord with an augmented fifth (D-F-A-A#) for a highly dissonant, almost jarring effect, or as D minor with an added minor sixth (D-F-A-Bb, if A# is enharmonically Bb) which would lean towards a more bluesy or soulful Dm6 sound. The repeated A and F notes across different octaves create a layered, resonant drone effect. This tuning would excel in genres like metal, progressive rock, experimental music, or even blues and jazz fusion where unusual voicings and heavy, sustained tones are desired. Power chords on D (D-A) are immediately available and sound massive, while the other strings offer unique harmonic extensions and melodic possibilities.

Tuning Notes (Open Strings)

• 6th String: D2
• 5th String: A2
• 4th String: A3#
• 3rd String: F3
• 2nd String: A3
• 1st String: F4

How to Tune from Standard EADGBe

To achieve the "Sour Band Tuning" from standard EADGBe tuning, follow these precise movements. Always be mindful of string tension when making adjustments, especially for larger changes.

• 6th String (Low E): Tune down 2 semitones to D2.
• 5th String (A): Keep as is; no change (0 semitones) at A2.
• 4th String (D): Tune down 4 semitones. This will take your 4th string from D3 to A#2 (Bb2). Caution: Tuning down 4 semitones is a significant alteration in string tension. For optimal playability, intonation stability, and to prevent string floppiness or breakage, using a heavier gauge string for your 4th string is strongly advised if you plan to use this tuning frequently. Movements exceeding 4 semitones (up or down) generally benefit from a different string gauge.
• 3rd String (G): Tune down 2 semitones to F3.
• 2nd String (B): Tune down 2 semitones to A3.
• 1st String (High E): Tune up 1 semitone to F4.