Verbal Analysis: Deep B and F# Resonance

The 'Sub-B Major Sixth Drop' tuning for a 7-string guitar is an exceptionally deep and unconventional setup, designed to push the boundaries of low-end resonance and harmonic complexity. At its core, this tuning creates a massive, resonant open B major sixth add nine (Bmaj6/9) chord across its strings, but with unique octave placements and inverted intervals. The most striking feature is the extremely low B1 on the 6th string, which sits even below the 7th string's F#2, granting an incredibly thick and brooding foundation that ventures into sub-harmonic territory.

The arrangement of the lowest four strings (F#2, B1, F#3, B2) is particularly unique, creating a powerful, almost drone-like effect where F# and B are heavily emphasized across different octaves. This structure suggests a soundscape ideal for heavy, atmospheric genres like djent, doom metal, or experimental music where deep, sustained textures and a massive wall of sound are paramount. Despite the non-sequential pitch order between some adjacent strings, the collective open strings offer a rich harmonic palette that is both dark and surprisingly musical, providing a lush foundation for complex arrangements or simply a colossal riff machine.

Technical Analysis: Inverted Intervals and Extended Range

This is a 7-string guitar tuning with the following open notes from thickest (7th) to thinnest (1st) string, showcasing an extended low range:

• String 7: F#2
• String 6: B1 (Notably a perfect 4th down from String 7, creating an extremely deep and wide interval.)
• String 5: F#3 (A perfect 4th up from String 6, and an octave up from String 7.)
• String 4: B2 (A perfect 4th down from String 5, and an octave up from String 6.)
• String 3: D#4 (A Major 3rd up from String 4.)
• String 2: G#4 (A Perfect 4th up from String 3.)
• String 1: C#5 (A Perfect 4th up from String 2.)

The most significant technical characteristic is the inverted pitch relationship between strings 7 & 6 (F#2 to B1) and strings 5 & 4 (F#3 to B2). This means that standard scale and chord shapes will require significant re-learning for the lower strings, as the typical ascending pitch order between adjacent strings is broken. However, this configuration allows for unique wide voicings and powerful arpeggios that would be impossible in conventional tunings, providing a distinct sonic signature. The upper three strings (D#4, G#4, C#5) maintain a consistent perfect 4th interval pattern, offering a degree of familiarity in a higher register. These notes, along with the lower strings, collectively spell out B, C#, D#, F#, G#, which forms a rich Bmaj6/9 chord (B-D#-F#-G#-C#) when played open. This makes the tuning highly resonant for open strumming or arpeggiation, particularly for chords rooted in B or F#, providing a powerful sonic bed for modal improvisations, especially in B major or related modes.

How to Tune:

This tuning involves significant drops for almost all strings from an implied standard tuning. It is highly recommended to use heavier gauge strings, especially for those with movements of 4 semitones or more, to maintain proper tension, intonation, and prevent string breakage or floppiness.

• String 7 (F#2): Tune down 5 semitones. (A thicker gauge string is strongly advised for optimal performance and to achieve proper tension.)
• String 6 (B1): Tune down 5 semitones. (This is an extremely low note. A significantly thicker gauge string is essential for this string to achieve playable tension and avoid excessive floppiness.)
• String 5 (F#3): Tune down 3 semitones.
• String 4 (B2): Tune down 3 semitones.
• String 3 (D#4): Tune down 4 semitones. (A thicker gauge string is advised for optimal performance.)
• String 2 (G#4): Tune down 3 semitones.
• String 1 (C#5): Tune down 3 semitones.

String 7: F2#

String 6: B1

String 5: F3#

String 4: B2

String 3: D4#

String 2: G4#

String 1: C5#