This unique 8-string tuning, officially named "Odd 8 String Tuning" by Dean Murphy, is prominently featured in his song "Hanging Lake." It's a tuning that defies conventional patterns, offering an expansive sonic palette ranging from exceptionally deep bass to soaring, yet unconventionally arranged, higher notes. This makes it particularly suitable for atmospheric, ambient, or experimental genres where a wide dynamic and harmonic range is desired.

Verbal Analysis

The immediate impression of this tuning is its profound depth and wide reach. Starting with a powerful D1 and B1, it lays down an incredibly resonant foundation. The subsequent D2, E2, and A2 continue to build a rich, low-mid range. The most striking feature is the dramatic leap from A2 to C4# on the third string, creating a vast chasm in pitch that can be used for dramatic effect, allowing for distinct bass lines and upper melodies to coexist without clutter. The highest strings, C4#, F4#, and the slightly lower B3, add bright, yet somewhat dissonant, textures that challenge traditional chord shapes. This tuning encourages exploration of open string drones, complex arpeggios, and percussive techniques, lending itself to a soundscape rather than simple strumming.

Technical Analysis

The open notes of this 8-string tuning, from lowest to highest, are: D1 - B1 - D2 - E2 - A2 - C4# - F4# - B3.

Let's examine the intervals between adjacent strings:

• String 8 (D1) to String 7 (B1): A Major 6th up (8 semitones).
• String 7 (B1) to String 6 (D2): A Minor 3rd up (3 semitones).
• String 6 (D2) to String 5 (E2): A Major 2nd up (2 semitones).
• String 5 (E2) to String 4 (A2): A Perfect 4th up (5 semitones).
• String 4 (A2) to String 3 (C4#): An Octave and a Major 3rd up (17 semitones). This is an exceptionally large interval, creating a significant voice separation.
• String 3 (C4#) to String 2 (F4#): A Perfect 4th up (5 semitones).
• String 2 (F4#) to String 1 (B3): A Perfect 5th down (7 semitones). This is another unconventional move, placing the highest string lower than its immediate predecessors.

Due to these unique intervals, standard chord shapes are not readily available. However, the open strings do present interesting harmonic possibilities:

• The open notes include D, B, D, E, A, C#, F#, B.
• A D Major triad (D, F#, A) can be formed by combining D1 (string 8), A2 (string 4), and F4# (string 2).
• An A Major triad (A, C#, E) is present with A2 (string 4), C4# (string 3), and E2 (string 5).
• The combination of B1 (string 7), D2 (string 6), and F4# (string 2) hints at a B Minor triad, or could be used as part of a G Major or D Major 7th chord.
• The overall tuning doesn't present a single, easily strummable open chord. Instead, it encourages a melodic or arpeggiated approach, using the deep bass for drones and the higher strings for intricate melodies or dissonant harmonies. The wide range and the particular placement of the C4#, F4#, and B3 allow for unique voicings that sound both full and spacious.

Tuning Notes (Lowest to Highest)

• String 8: D1
• String 7: B1
• String 6: D2
• String 5: E2
• String 4: A2
• String 3: C4#
• String 2: F4#
• String 1: B3

How to Tune

To achieve the 'Odd 8 String Tuning,' please follow these instructions carefully. Note that several strings require significant pitch adjustments. If your guitar is not typically set up for such a wide range of tunings, or if you are moving from a standard tuning, consider consulting a luthier or using appropriate string gauges to prevent damage and ensure optimal playability.

• String 8 (Lowest): Tune to D1. You will need to tune down 4 semitones.
• String 7: Tune to B1. Keep as is; no change (0 semitones).
• String 6: Tune to D2. You will need to tune down 2 semitones.
• String 5: Tune to E2. You will need to tune down 5 semitones. Caution: Tuning down 5 semitones is a substantial change. A different string gauge is advised to maintain proper tension and intonation, or if moving from a much higher standard pitch.
• String 4: Tune to A2. You will need to tune down 5 semitones. Caution: Tuning down 5 semitones is a substantial change. A different string gauge is advised to maintain proper tension and intonation, or if moving from a much higher standard pitch.
• String 3: Tune to C4#. You will need to tune down 6 semitones. Caution: Tuning down 6 semitones is a very significant change. A different string gauge is strongly advised to maintain proper tension and intonation, or if moving from a much higher standard pitch.
• String 2: Tune to F4#. You will need to tune down 5 semitones. Caution: Tuning down 5 semitones is a substantial change. A different string gauge is advised to maintain proper tension and intonation, or if moving from a much higher standard pitch.
• String 1 (Highest): Tune to B3. You will need to tune down 5 semitones. Caution: Tuning down 5 semitones is a substantial change. A different string gauge is advised to maintain proper tension and intonation, or if moving from a much higher standard pitch.