Drop A modified is a unique and aggressive tuning, as described by its creator: I made this by slightly modifying Drop A tuning and playing some riffs realizing how great it sounded This sentiment perfectly captures the experimental and riff-centric nature of this setup.

Verbal Analysis

This tuning immediately strikes one as a dark and heavy soundscape. The low G# on the 6th string, paired with a G# an octave higher on the 4th string, establishes a powerful, resonant foundation, typical of "Drop" tunings, but lowered even further than standard Drop A. The introduction of F2 on the 5th string creates a stark, wide interval from the low G#, contributing to a dense and potentially dissonant sonic texture. The overall feel is one of immense depth and a growling character, designed for intricate, low-end riffs rather than bright, open chord work. It's a tuning that encourages pushing boundaries and exploring darker melodic and harmonic ideas.

Technical Analysis

The open string notes are: G2# F2 G3# D4# F4# B3. Compared to standard EADGBe tuning, this is a heavily detuned setup, with all strings tuned down significantly. The most prominent technical features include:

• Octave Root: Strings 6 (G#2) and 4 (G#3) provide a strong G# octave, perfect for one-finger power chords and deep, resonant root notes in riffs.
• Perfect Fifth: String 3 (D#4) provides the perfect fifth to the G# root, allowing for an open G#5 power chord (G#2, G#3, D#4) to be played across strings 6, 4, and 3.
• Unique Intervals: The F2 on string 5 creates a major third interval with the low G#2 (reading F up to G#), or a minor third (reading G# down to F), offering intriguing dissonances and harmonic possibilities. The combination of G#, F, D#, F#, B doesn't form a standard major or minor chord but suggests complex, potentially modal or highly chromatic harmonies for advanced riffing.
• Upper String Relation: The upper strings (D#4, F#4, B3) present a mix of intervals. F#4 to B3 is a perfect fourth, which can be useful for melodic lines or specific voicings.

While not immediately lending itself to common open chords, the structure is ideal for creating heavy, low-end riffs and power chords, especially with the G# root on strings 6 and 4. Chords like a G#5 (G# on 6, 4 and D# on 3) are readily available. The unique intervals, particularly the F2, invite exploration into more experimental and modern metal or progressive rock contexts, allowing for a distinct sonic signature.

How to Tune Your Guitar

Given the significant detuning involved, we strongly recommend using a heavier gauge string set for optimal tension and tone, and to prevent potential damage to lighter gauge strings. Tune your guitar to standard EADGBe before applying the following adjustments:

• String 6 (Low E): Tune down 8 semitones to G#2. Please be cautious; tuning down 8 semitones is a significant change, and a heavier gauge string is highly recommended to maintain playability and string integrity.
• String 5 (A): Tune down 4 semitones to F2.
• String 4 (D): Tune down 6 semitones to G#3. Please be cautious; tuning down 6 semitones is a significant change, and a heavier gauge string is highly recommended to maintain playability and string integrity.
• String 3 (G): Tune down 4 semitones to D#4.
• String 2 (B): Tune down 5 semitones to F#4. Please be cautious; tuning down 5 semitones is a significant change, and a heavier gauge string is highly recommended to maintain playability and string integrity.
• String 1 (High E): Tune down 5 semitones to B3. Please be cautious; tuning down 5 semitones is a significant change, and a heavier gauge string is highly recommended to maintain playability and string integrity.