Verbal Analysis

The "Sumac Attis Blade Tuning" is a profoundly deep, dark, and highly idiosyncratic tuning, characteristic of Sumac's heavy and experimental soundscapes. This setup takes the guitar into an extremely low and unconventional register, creating a foundation that is both guttural and resonant. The substantial drop in pitch across most strings, combined with irregular intervallic jumps, suggests a preference for thick, sludgy riffs, atmospheric drones, and complex, dissonant textures rather than traditional melodic playing or standard open chords. The overall impression is one of immense sonic weight and tension, ideal for crafting oppressive, powerful, or avant-garde sonic environments.

Technical Analysis

This is a heavily dropped and highly unconventional tuning for a standard six-string Guitar. The open notes are configured as follows from lowest (6th string) to highest (1st string):

• 6th String (Low E position): G#2
• 5th String (A position): F#3
• 4th String (D position): B2
• 3rd String (G position): D3
• 2nd String (B position): F#4
• 1st String (High E position): B3

Analysing the intervals between adjacent strings reveals a highly irregular and unique structure:

• 6th (G#2) to 5th (F#3): An extremely wide interval of an octave and a major 6th up (22 semitones).
• 5th (F#3) to 4th (B2): A significant drop of a perfect 5th down (7 semitones).
• 4th (B2) to 3rd (D3): A minor 3rd up (3 semitones).
• 3rd (D3) to 2nd (F#4): Another very large leap, an octave and a major 3rd up (16 semitones).
• 2nd (F#4) to 1st (B3): A perfect 4th down (5 semitones), creating another significant drop in pitch.

This highly irregular intervallic structure means that traditional chord shapes will not apply directly. However, the open strings themselves form a rich, dissonant cluster with powerful resonant qualities:

• The notes G#2, B2, D3, F#3 (found on strings 6, 4, 3, 5 respectively) form a strong G# diminished 7th chord. This provides a dark, unstable, yet harmonically interesting foundation for the tuning.
• The presence of octaves – B2 on the 4th string and B3 on the 1st string, and F#3 on the 5th string and F#4 on the 2nd string – creates powerful and resonant doubling. These octaves will make open strumming incredibly full and sustained, providing a strong sense of root and fifth (B and F#), despite the overall dissonant feel of the full open voicing.
• Chords within Reach: Due to the non-standard intervals, conventional open chords are challenging to construct. However, the tuning is exceptionally well-suited for creating massive, low-end drones and heavy, dissonant chords. Two-string power chords on the lower strings (e.g., 6th and 5th, or 6th and 4th) will produce a thick, detuned sound. The minor 3rd intervals found between the 6th-4th and 4th-3rd strings suggest that minor or diminished voicings are readily available in the lower register simply by using open strings or minimal fretting. The strong octave relationships facilitate powerful, sustained voicings with ease.

Open String Notes

Here are the target notes for each string when open:

• 6th String (Lowest): G#2
• 5th String: F#3
• 4th String: B2
• 3rd String: D3
• 2nd String: F#4
• 1st String (Highest): B3

How to Tune

To achieve the Sumac Attis Blade tuning, carefully follow these precise adjustments for each string. The instructions indicate the movement from a presumed standard starting pitch (E2 A2 D3 G3 B3 E4) to the target note:

• 6th String: Tune down 8 semitones to G#2. (Note: Tuning down 8 semitones is a very significant adjustment; a heavier gauge string is strongly advised for optimal tension, tone, and to prevent string floppiness.)
• 5th String: Tune down 3 semitones to F#3.
• 4th String: Tune down 3 semitones to B2.
• 3rd String: Tune down 5 semitones to D3. (Note: Tuning down 5 semitones is a significant adjustment; consider a heavier gauge string for optimal tension and tone.)
• 2nd String: Tune down 5 semitones to F#4. (Note: Tuning down 5 semitones is a significant adjustment; consider a heavier gauge string for optimal tension and tone.)
• 1st String: Tune down 5 semitones to B3. (Note: Tuning down 5 semitones is a significant adjustment; consider a heavier gauge string for optimal tension and tone.)