This is an intriguing Guitar tuning known as Open B6. As the original description suggests, it forms an "open chord" that "sounds nice lmao :)", delivering a rich and resonant sound when strummed without any fretting.

Technical Analysis:

The open strings are tuned to F#3, G#3, D#4, G#4, B3, F#5 (from low to high string). When these notes are combined, they form a B Major 6th chord (B-D#-F#-G#). The tuning provides a full Bmaj6 chord with excellent voicing due to the distribution of notes:

• String 6 (low F#3) acts as the perfect fifth of B.
• String 5 (G#3) is the major sixth.
• String 4 (D#4) is the major third.
• String 3 (G#4) is the major sixth (octave higher than String 5's G#3).
• String 2 (B3) is the root.
• String 1 (high F#5) is the perfect fifth (octave higher than String 6's F#3).

This distribution creates a bright and harmonically complete sound. A notable technical aspect is the significant descending interval between String 3 (G#4) and String 2 (B3), where B3 is 10 semitones lower than G#4. This unconventional relationship between adjacent strings creates a re-entrant characteristic between these two strings, making for a unique playing experience that can allow for interesting melodic leaps and voicings not typically found in standard tunings.

Playing Possibilities & Chords:

As an Open B6 tuning, the most obvious benefit is the instant Bmaj6 chord when played open. This makes it ideal for:

• Slide Guitar: A slide across any fret will instantly produce a Major 6th chord. For instance, sliding to the 2nd fret would yield a C#maj6, and to the 3rd fret, a Dmaj6.
• Drone & Rhythm: The rich open chord provides an excellent harmonic foundation for rhythm playing, especially in genres like blues, folk, country, or even rock where a full, ringing chord is desired.
• Chord Shapes: Basic barre chords can be used to shift the Bmaj6 shape up and down the neck. The internal intervals also allow for accessible variations of B major, B minor, and related dominant 7th chords with minimal fingering adjustments. The wide interval between strings 3 and 2 could inspire unique arpeggios and counter-melodies, offering a distinct voice to your playing.

This tuning offers a distinctive sonic palette, encouraging players to explore new chord voicings and melodic ideas that differ significantly from standard tuning.

Tuning Notes:

String 6 (Low E String): F#3
String 5 (A String): G#3
String 4 (D String): D#4
String 3 (G String): G#4
String 2 (B String): B3
String 1 (High E String): F#5

How to Tune:

Please be mindful of your string tension. Always tune slowly and carefully.

• String 6 (Low E): Tune up 2 semitones to F#3.
• String 5 (A): Tune down 1 semitones to G#3.
• String 4 (D): Tune up 1 semitones to D#4.
• String 3 (G): Tune up 1 semitones to G#4.
• String 2 (B): Keep as is; no change (0 semitones) at B3.
• String 1 (High E): Tune up 2 semitones to F#5.

Based on the specified semitone movements, none of the strings are tuned up or down by more than 4 semitones from their implied starting pitch (derived from the target note and semitone movement). Therefore, a change in string gauge is generally not advised for this tuning, assuming a standard light to medium gauge set. However, individual string tension preferences may vary, and care should always be taken when adjusting tuning.