The 'Drop F#' tuning for a 4-string electric bass is an exceptionally low and unconventional setup, pushing the instrument into extreme sonic territory. The original description, "Super low, only rattle, sounds like shit," humorously, but accurately, hints at the profound challenges and unique characteristics of this tuning. It's designed for a heavy, resonant, and possibly dissonant sound, where clarity might be sacrificed for raw, guttural power. This tuning would be suited for genres demanding immense low-end weight, experimental soundscapes, or highly aggressive musical styles where string tension is intentionally loose for specific sonic effects.

Technical Analysis

This 4-string bass tuning sets the open strings to F1#, C2#, F2#, B1 from thickest (4th) to thinnest (1st). What immediately stands out is the non-monotonic pitch progression, particularly the first string (thinnest) being tuned significantly lower than the other strings. The pitches arranged from lowest to highest are: B1, F1#, C2#, F2#. This means the first, and typically highest, string is actually the lowest pitched note in the entire tuning, creating a highly unusual and potentially challenging playing experience.

• 4th String (Thickest): F1# (approx. 46.25 Hz). This is a very low bass note, slightly higher than a standard E1 on a bass.
• 3rd String: C2# (approx. 69.3 Hz). This is a perfect fifth above the 4th string.
• 2nd String: F2# (approx. 92.5 Hz). This is a perfect fourth above the 3rd string.
• 1st String (Thinnest): B1 (approx. 30.87 Hz). This is the most striking feature; the thinnest string is tuned to the lowest note in the entire tuning, making it extremely loose and likely to rattle. Its pitch is lower than the F1# on the thickest string by five semitones, and significantly lower than C2# and F2#.

Open String Chords & Voicings

Due to the inverted pitch order of the highest string, traditional chord shapes are practically unusable, and any attempt will yield highly dissonant or unexpected voicings. However, interesting drones and open intervals can be explored:

• The 4th (F1#) and 3rd (C2#) strings form a perfect 5th, creating a strong F#5 power chord foundation.
• The 3rd (C2#) and 2nd (F2#) strings form a perfect 4th.
• The extreme pitch drop from the 2nd string (F2#) to the 1st string (B1) makes these two strings function more like an octave below the 2nd string's root, creating a massive, rumbling interval rather than a typical chord voicing. Openly played, the tuning creates a complex, dense sound primarily focused on a B root (B1 from string 1) with F# (string 4 and 2) and C# (string 3) providing a Bsus2 tonality (B, C#, F#), albeit with the notes oddly distributed across the strings.

How to Tune to Drop F#

Warning: The extreme nature of these string movements (all 5-7 semitones down) will likely require a change to much heavier gauge strings to prevent excessive rattling and ensure playability. Tuning standard gauge strings this far down can result in very loose tension, poor tone, and potential damage to the instrument's neck if not properly set up. Refer to the 'Tuning Notes' section for the target pitches.

• 4th String (Thickest): Tune down 7 semitones to reach F1#.
• 3rd String: Tune down 5 semitones to reach C2#.
• 2nd String: Tune down 5 semitones to reach F2#.
• 1st String (Thinnest): Tune down 5 semitones to reach B1.

4th String (Thickest): F1#
3rd String: C2#
2nd String: F2#
1st String (Thinnest): B1 (Notably the lowest pitched string in this tuning!)