The 'Drop D# ST' tuning is an 8-string guitar setup, famously associated with the band Sleep Token, hinting at its usage in modern progressive and heavy music. This tuning pushes the boundaries of traditional guitar voicings, offering an extremely deep low end while presenting a uniquely challenging and experimental mid-range.

Verbal Analysis

This tuning is characterized by its exceptionally low root note, D#2, which provides a massive, guttural foundation perfect for heavy riffs, atmospheric soundscapes, and extended-range exploration. The lowest three strings (D#2, A#2, D#3) naturally form a D#5 power chord, making it ideal for powerful, chugging rhythms. However, the most distinctive feature of this tuning lies in its highly unconventional mid-range, where the pitch progression is broken and irregular. The drastic downward step from String 4 (C#4) to String 3 (F3) and subsequent large upward leap to String 2 (A#4) creates significant intervallic jumps that demand a highly specialized playing approach. This non-linear arrangement suggests an intentional design for specific melodic lines, dissonant textures, or non-standard chord voicings, moving far beyond typical guitar tunings to achieve unique sonic effects characteristic of Sleep Token's innovative sound.

Technical Analysis

This is an 8-string tuning with the following notes from lowest (String 8) to highest (String 1): D#2, A#2, D#3, G#3, C#4, F3, A#4, D#5.

String Intervals (Lowest to Highest Pitch):

• String 8 (D#2) to String 7 (A#2): Perfect 5th (+7 semitones)
• String 7 (A#2) to String 6 (D#3): Perfect 4th (+5 semitones)
• String 6 (D#3) to String 5 (G#3): Perfect 4th (+5 semitones)
• String 5 (G#3) to String 4 (C#4): Perfect 4th (+5 semitones)
• String 4 (C#4) to String 3 (F3): Diminished 5th DOWN (-8 semitones). This is a highly unusual reverse interval where the 3rd string is significantly lower in pitch than the 4th string.
• String 3 (F3) to String 2 (A#4): Minor 10th UP (+13 semitones). An exceptionally large upward jump in pitch.
• String 2 (A#4) to String 1 (D#5): Major 6th UP (+9 semitones).

Open Chords & Voicings:

• The bottom three strings (D#2, A#2, D#3) readily form a powerful D#5 power chord, providing a strong foundation for heavy riffs and open-string chugging.
• The sequence of perfect fourths from String 7 to String 4 (A#2, D#3, G#3, C#4) allows for easy access to spread voicings that can imply suspended chords or extensions, though a full common chord shape is not immediately present.
• Due to the significant and irregular pitch changes between String 4, String 3, and String 2, traditional open chords or barre chord shapes are virtually impossible to play. This section of the tuning is clearly designed for single-note runs, specific dyads (two-note combinations), or highly unconventional, wide-interval voicings, necessitating a bespoke approach to composition and playing technique.
• The top two strings (A#4, D#5) maintain a Major 6th interval, which can be used for melodic lines or specific harmonic voicings in the higher register.

String Notes

• String 8: D2# (Lowest String)
• String 7: A2#
• String 6: D3#
• String 5: G3#
• String 4: C4#
• String 3: F3
• String 2: A4#
• String 1: D5# (Highest String)

How to Tune

To achieve the 'Drop D# ST' tuning, adjust each string according to the following instructions. All movements involve tuning down, which generally reduces string tension:

• String 8 (D2#): Tune down 3 semitones.
• String 7 (A2#): Tune down 1 semitone.
• String 6 (D3#): Tune down 1 semitone.
• String 5 (G3#): Tune down 1 semitone.
• String 4 (C4#): Tune down 1 semitone.
• String 3 (F3): Tune down 2 semitones.
• String 2 (A4#): Tune down 1 semitone.
• String 1 (D5#): Tune down 1 semitone.

Important Note: While none of the individual string adjustments for this tuning exceed a change of 4 semitones (either up or down), which is often when a different string gauge might be advised, always exercise caution when tuning. Ensure your guitar's setup can handle the reduced overall string tension, especially on the lower strings, to avoid potential issues with intonation or buzzing.