Verbal Analysis:

This 7-string tuning, named 'Drop G/A# variant', is described as a modification of the 'Racecar tuning' (A# C# G# C# F# A# D#). While it shares a penchant for low and heavy voicings, its specific intervals create a unique sonic landscape. Starting with a thunderous G1, this tuning delves into extremely deep registers, crafting a dark and aggressive sound perfect for genres demanding immense weight and unusual harmonic textures like djent, doom metal, or experimental progressive music. The significant drops and wide, often dissonant, intervals across strings challenge traditional playing styles, encouraging open, expansive voicings and percussive riffing.

Technical Analysis:

• The open strings are tuned to: G1, A#2, F2, A#3, D#4, G3, C4 (from lowest to highest).
• Compared to a standard 7-string tuning (B E A D G B E), every string is tuned down significantly, with the 6th string seeing a massive 6-semitone drop.
• The intervallic structure of this tuning is highly unconventional:
  • String 7 (G1) to String 6 (A#2): A compound minor third, creating a bold and very heavy fundamental interval.
  • String 6 (A#2) to String 5 (F2): A substantial drop of a tritone (6 semitones), introducing a wide, dissonant gap.
  • String 5 (F2) to String 4 (A#3): A compound tritone (18 semitones), maintaining a characteristic open and somewhat unstable quality.
  • String 4 (A#3) to String 3 (D#4): A perfect fourth (5 semitones), offering a familiar and strong interval within the mid-range.
  • String 3 (D#4) to String 2 (G3): Another significant drop, a major third (8 semitones down relative to D#4), creating a further discontinuity in the string set.
  • String 2 (G3) to String 1 (C4): A perfect fourth (5 semitones), providing a stable interval for higher melodic or chordal work.
• Open Chords and Voicings: This tuning largely moves away from conventional open chord shapes due to its extreme non-standard intervals. However, it excels at massive, resonant open power chords on the lowest strings (G1 and A#2). The presence of perfect fourths (A#3-D#4 and G3-C4) in the upper-mid range offers a more familiar feel for chord extensions and melodic phrasing on those specific strings, reminiscent of all-fourths tunings. The large drops necessitate significant finger stretching or skipping strings for voicings, encouraging unique approaches to harmony and emphasizing the percussive potential of open strings and low-fretted riffs.

How to Tune

This tuning requires significant string slack and will likely necessitate heavier gauge strings for optimal playability, tension, and intonation, especially for the lower strings, due to the substantial downward movements. Please exercise caution when tuning to avoid string breakage or potential damage to your instrument.

• String 7 (Lowest String - G1): Tune down 4 semitones. (Consider a heavier gauge string for optimal tension and tone).
• String 6 (A#2): Tune down 6 semitones. (A significantly heavier gauge string is strongly advised for proper tension, intonation, and to prevent string breakage).
• String 5 (F2): Tune down 4 semitones. (Consider a heavier gauge string for optimal tension and tone).
• String 4 (A#3): Tune down 4 semitones. (Consider a heavier gauge string for optimal tension and tone).
• String 3 (D#4): Tune down 4 semitones. (Consider a heavier gauge string for optimal tension and tone).
• String 2 (G3): Tune down 4 semitones. (Consider a heavier gauge string for optimal tension and tone).
• String 1 (Highest String - C4): Tune down 4 semitones. (Consider a heavier gauge string for optimal tension and tone).

Always check your instrument's intonation carefully after making significant tuning changes.