Solodini
MORE RESTS!
Closer intervals in the lower strings makes it easier to play basslines which move around, rather than bass chords and then you can use more fingers for harmonic/melodic movement elsewhere.
Anybody here trying altered tunings?
- Thread starter nightflameauto
- Start date
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- 3rds tuning 5ths tuning
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Closer intervals in the lower strings makes it easier to play basslines which move around, rather than bass chords and then you can use more fingers for harmonic/melodic movement elsewhere.
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G27DUDE
Well-Known Member
I have a few songs on my six with BADGBe.
GenghisCoyne
im here to party
only tune like this if you have no fretmarkers. that way your bassist stares at you for 80% of practice, thinks hes got it, then remembers you arent in standard tuning, smiles and plays it off likes it no big deal, then drives off of a bridge on the way home.
Konfyouzd
Return of the Dread-I
I like open major tunings. They're like Drop D's cooler cousin. 
nightflameauto
Well-Known Member
I played around last night before I get ready to figure out string tensions and such to order custom sets to see what feels interesting. I took a run of three strings continuous and retuned first in major thirds, then in minor thirds. Major thirds was certainly different, but minor thirds was just a blast. Not really sure how to describe it if you've never tried it, but "paino chords" (as I've seen bandied about a bit) were very simple to pull off, and the switch from the major to the minor was very clean. Your standard two string power chord becomes a bit difficult to pull off without skipping/muting a string in between. It sort of broke my usual pattern of single notes->power chords->octaves->power chords->single notes. I found I was using power chords ONLY as accent points because it was such a different feeling chord to pull off.
It also results in a repeated string pattern. The bottom four and the top four are tuned exactly the same separated by octaves.
I'll play around a bit more, but I believe minor thirds it is. And if it sticks with me, I may be in the market to try out a 25.5 inch scale nine or even ten string. I see Rondo has a 925 up that the price keeps dropping on. That'd be perfect for this type of tuning.
Also:
My fretboard:
Too bad I don't work with a bassist currently.
It also results in a repeated string pattern. The bottom four and the top four are tuned exactly the same separated by octaves.
I'll play around a bit more, but I believe minor thirds it is. And if it sticks with me, I may be in the market to try out a 25.5 inch scale nine or even ten string. I see Rondo has a 925 up that the price keeps dropping on. That'd be perfect for this type of tuning.
Also:
My fretboard:
Too bad I don't work with a bassist currently.
GenghisCoyne
im here to party
Also:
My fretboard:
Too bad I don't work with a bassist currently.
people like you are why people like me play fretless and go "no its supposed to sound like that its a fretless"
GenghisCoyne
im here to party
well i dont know how to fix that
nightflameauto
Well-Known Member
You ended quote before you ended quote. Remove the first / in the first part of the quote and it'll fix right up.
Fretless = tone machines. I would go fretless on a guitar, but I'm so far out of my violin stage I'm not sure I'd ever find the note.
Wings of Obsidian
Banned
I keep my 7-string Ibanez in Open-G tuning. (Devin Townsend tuning which is really just Open-=C on a 6-string with the low G.)
Other than that, I have a PRS SE in Drop-A#, a PRS Paul Allender in standard E, and a Steinberger in Open-E (for less stretching on some complex jazz chords).
Things always get interesting with Open tunings in my opinion.
Other than that, I have a PRS SE in Drop-A#, a PRS Paul Allender in standard E, and a Steinberger in Open-E (for less stretching on some complex jazz chords).
Things always get interesting with Open tunings in my opinion.
Solodini
MORE RESTS!
Slight adjustment to my previous suggestion: FACFCGCD. Playing about with that atm. Lots of fun.
nightflameauto
Well-Known Member
I'm pretty well set on low to high B-D-F-G#-B-D-F-G#. Or move everything up to starting on C instead of B. I'm really liking the chording possibilities with this sort of compressed tuning.
I know it's probably an odd thing to do when everyone else is trying to reach further and lower, but I think there's a lot of fun to be had here. And like I said, I'd kind of like to try it on a nine or even ten string. I doubt I'd even think about doing this on a six string. Too little range for me. An 8 is kind of right on the edge with it, but still lots of fun.
I know it's probably an odd thing to do when everyone else is trying to reach further and lower, but I think there's a lot of fun to be had here. And like I said, I'd kind of like to try it on a nine or even ten string. I doubt I'd even think about doing this on a six string. Too little range for me. An 8 is kind of right on the edge with it, but still lots of fun.
Bigredjm15
Well-Known Member
Tune to FFFFFFFF, and just one finger that bitch!
Minor thirds ... interesting choice. There's a mathematical trick to choosing gauges for this, using unit weight values from the D'Addario tension chart ... let me know if you're interested in knowing the method.
Cad P Crayon
Member
The most radical tuning I've tried is C#BADGBE on my ESP 7-string (tuning down the B to C#1, and the E to B1). Gives me tons of range to work with, floppiness of strings aside. Mostly easy to play octaves and allows me to access 9ths and minor 10ths with ease. All 5ths tunings would do something similar, but I'm not very willing to tune up on a baritone scale. I really like the root-5-9 or root-5-b10 chords on all 5ths.
Atomshipped
Well-Known Member
D A D F# A D is extremely fun on acoustic guitar. I can't really imagine a use for it on electric though.I like open major tunings. They're like Drop D's cooler cousin.
Wings of Obsidian
Banned
I think Andy McKee used (or maybe even "uses") that tuning.
ADADGAD here. Really useful for anyone who relies on tapping more than sweeping, and has spent WAY too long making dissonance using standard tuning. I also like diminished/augmented/wholetone/chromatic aka symmetric patterns so the interaction between the treble side of the fretboard is very interesting.
I've been using: String Guage and Tension Calculator - Version 0.1.4 - 26 apr 1998
Pretty straight forward, as long as you keep your octaves correct.
Ray
BeyondAntares
Well-Known Member
Try out open tunnings such as open dm add 9 which opeth used for ghost reveries. Try an open tunning with both an added 2 and 4 to try out major minor chords. Possibilities are endless
