This guitar tuning, whimsically named "+3 awesomeness repels water," presents a truly unique and challenging sonic landscape. While the original description is brief ("ttng"), a detailed analysis reveals a tuning designed for adventurous players seeking distinct harmonic textures and a powerful, almost orchestral low end.

Verbal Analysis

With its lowest string tuned to a deep F2, this tuning provides a resonant, commanding foundation. The presence of multiple sharp notes (G3#, D4#, A4#, D5#) creates a darker, more intense harmonic palette that deviates significantly from standard guitar voicings. The overall feel might be described as mysterious, heavy, or even cinematic, well-suited for genres like metal, progressive rock, or experimental soundscapes where unique textures and sustained, droning qualities are desired. The non-standard intervals between strings mean that familiar chord shapes will not translate directly, encouraging exploration of new fingerings and open string voicings that would be impossible in standard tuning. The open strings themselves form a complex chord, suggesting a rich, often dissonant, sound when strummed openly.

Technical Analysis

The tuning's structure is F2 G3# D4# G3 A4# D5#. Let's break down the intervals and potential:

• The open strings contain the notes F, G#, D#, G, A#, D#. When considered as one chord (F, Ab, Eb, G, Bb, Eb), this is a complex voicing that hints at an Eb major or minor chord with additional tensions and a low F root. More simply, the presence of F, G, Ab, Bb, and Eb suggests a rich, potentially jazz- or fusion-influenced harmony, but also allows for dark, ambiguous, or dissonant clusters.
• Noticeable power chord opportunities arise from the perfect fifth intervals on certain string pairs:
  • String 5 (G3#) to String 4 (D4#): A perfect fifth (G# to D#).
  • String 2 (A4#) to String 1 (D5#): Another perfect fifth (A# to D#).
  This allows for easy two-string power chords on these sets, adding a robust, driving sound, especially when combined with the low F.
• The interval from the 6th string (F2) to the 5th string (G3#) is a highly extended interval (an augmented ninth or minor tenth), which makes open string bass lines very broad and expansive.
• The 3rd string remains G3, matching standard tuning, which could serve as a useful reference point amidst the altered notes. However, the presence of G3# (Ab3) on the 5th string creates a dissonant minor second interval when strummed together with the 3rd string G3, providing tension and a unique character.
• Given the frequent sharps, this tuning might excel in keys related to F minor, Ab major, or Eb minor/major, offering unique voicings for these tonal centers.

How to Tune (from Standard EADGBe)

To achieve the "+3 awesomeness repels water" tuning from standard EADGBe:

• 6th String (Low E): Tune up 1 semitones to F2. (Note: Tuning up 1 semitone is generally safe.)
• 5th String (A): Tune down 1 semitones. This will result in G#2. (The target note for this string is G3#, which is an octave higher than G#2. If you intend to reach G3#, your string gauge must be suitable for such a high pitch and tension, and you would effectively be tuning up 11 semitones from A2, or simply stringing with a G# string that's an octave higher than standard. Applying the movement strictly to standard A2 yields G#2.)
• 4th String (D): Tune up 1 semitones. This will result in D#3. (The target note for this string is D4#, which is an octave higher than D#3. Similar to the 5th string, reaching D4# from a standard D3 requires an extreme 13-semitone (octave + 1 semitone) tuning up, or a specific lighter gauge string. Applying the movement strictly to standard D3 yields D#3.)
• 3rd String (G): Keep as is; no change (0 semitones). The target note for this string is G3.
• 2nd String (B): Tune down 1 semitones. This will result in A#3. (The target note for this string is A4#, which is an octave higher than A#3. Reaching A4# from a standard B3 requires tuning up 10 semitones (octave - 2 semitones), or a specific lighter gauge string. Applying the movement strictly to standard B3 yields A#3.)
• 1st String (High E): Tune down 1 semitones. This will result in D#4. (The target note for this string is D5#, which is an octave higher than D#4. Reaching D5# from a standard E4 requires tuning up 11 semitones (octave - 1 semitone), or a specific lighter gauge string. Applying the movement strictly to standard E4 yields D#4.)

Important Note on Octave Discrepancy: The specified movements in the 'How to Tune' section are strictly based on tuning from standard EADGBe by the given semitone intervals. However, the 'Tuning Notes' indicate several strings (5, 4, 2, 1) are an octave higher than what these movements would typically achieve from standard guitar string pitches. If you aim to reach the exact higher octave notes (G3#, D4#, A4#, D5#), your guitar must be strung with significantly lighter gauge strings or be specifically prepared for such high tension. Otherwise, applying these movements to standard strings will result in G#2, D#3, A#3, and D#4 respectively, creating a tuning with a generally lower overall pitch than the target notes suggest. This tuning as provided is highly unusual in its specified notes and movements, indicating a potentially specialized setup. Generally, tuning exceeding 4 semitones up or down often advises a different gauge string for optimal playability and to prevent string breakage or excessive tension/looseness.