Tuning Analysis: Loathe Tuning 1 Octave Up

The "Loathe Tuning 1 Octave Up" presents a distinctive and sonically expansive tuning, indicative of styles requiring a blend of deep resonance and piercing brightness, often found in progressive or heavy music genres. As its name suggests, this tuning involves significant pitch shifts, particularly emphasizing an octave jump in the higher register. The accompanying description, "for tuning purposes if using a drop pedal," further suggests its application in conjunction with external pitch-shifting effects, allowing for even greater sonic versatility and depth.

Verbal Analysis

This tuning creates a powerful and multi-dimensional sound profile. The low E (E2) and A (A2) strings remain at their standard pitches, providing a solid, familiar foundation for heavy riffs and rhythmic anchoring. The middle strings are tuned up, leading to a brighter and more open sound. However, the most striking feature is the high F5# on the first string, which is an unusually high pitch for a standard guitar and dramatically alters the instrument's tonal character. This high F5#, paired with the D4 and A3 below it, provides a shimmering, almost bell-like clarity that contrasts sharply with the deep, rumbling low end.

While not forming a single conventional major or minor chord, the open strings (E-A-E-A-D-F#) offer interesting harmonic possibilities. The combination of A3, D4, and F5# on strings 3, 2, and 1, respectively, forms an open D major triad, providing a bright, ready-made chord. The repeated E and A notes throughout the lower strings (E2, A2, E3, A3) create a resonant, drone-like quality, allowing for rich suspended chords or modal explorations. Players can easily achieve standard E5 and A5 power chords on the lowest strings, ideal for heavy rhythm work. The consistent perfect fourth interval between strings 5-4 (A-E), 4-3 (E-A), and 3-2 (A-D) also makes navigating the fretboard intuitive for players accustomed to fourths-based tunings, facilitating easy transposition of shapes across these strings.

The extreme pitch of F5# on the first string may require a very light gauge string or specialized guitar setup to prevent excessive tension and potential string breakage, especially when tuned up from standard E4. This high tension might also influence playability and intonation across the neck.

Technical Analysis

The open strings are tuned to E2-A2-E3-A3-D4-F5# (low to high).

Analyzing the intervals between adjacent strings, from low to high:

• String 6 (E2) to String 5 (A2): Perfect 4th (+5 semitones)
• String 5 (A2) to String 4 (E3): Perfect 5th (+7 semitones)
• String 4 (E3) to String 3 (A3): Perfect 4th (+5 semitones)
• String 3 (A3) to String 2 (D4): Perfect 4th (+5 semitones)
• String 2 (D4) to String 1 (F5#): Major 3rd (+4 semitones), with the F# an octave higher than standard F#4.

This tuning can be seen as a highly modified version of standard EADGBe, with the low E and A remaining untouched. The middle strings are significantly altered, creating an open sound with strong D major tonality in the upper register. The high F5# on the first string is the most radical departure, sitting 14 semitones (an octave and a major second) above standard E4. This creates a wide sonic range, from very low, guttural notes to exceptionally bright, high-pitched tones. The overall structure emphasizes open power chords and arpeggios that highlight the D major triad, while the repeated E and A notes lend themselves to suspended and modal voicings.

How to Tune

Important Note on String Gauge: When tuning strings up by 3 or more semitones from their standard pitch, the tension significantly increases. This can lead to increased stress on your guitar's neck and bridge, and a higher risk of string breakage. For changes exceeding 4 semitones up or down, or for the substantial pitch of F5# on the first string, it is highly recommended to use a lighter gauge string specifically designed for higher tunings to ensure stability and prevent damage.

• String 6 (Low E): Keep as is; no change (0 semitones). Tune to E2.
• String 5 (A): Keep as is; no change (0 semitones). Tune to A2.
• String 4 (D): Tune up 2 semitones. From standard D3, tune to E3.
• String 3 (G): Tune up 2 semitones. From standard G3, tune to A3.
• String 2 (B): Tune up 3 semitones. From standard B3, tune to D4.
• String 1 (High E): Tune up 2 semitones. From standard E4, this movement would typically bring the string to F#4. However, the target note for this tuning is F5#, which is an entire octave (12 semitones) higher than F#4, and 14 semitones above standard E4. Achieving F5# will almost certainly require a specialized very light gauge string, careful setup, and extreme caution, as the 'string_movements' only specifies a 2-semitone increase, not an octave jump.