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EADGBE




















Compared to you guys, it's FUCKING ABSURD

Thinking about "bomb" tuning my baritone.
EEADF#B

Recently I've been writing songs in EADGae

amazing how tuning one string down can make for a really usable tuning that lets you play in pretty much your normal style but forces you to think just that little be differently. think I saw something about it reading up on Swervedriver and some of Adam Franklin's tunings.

this one pretty much makes all your Major Barre Chords on the E string become Add11 and major A string chords become Sus2 lots of 4ths and 2nds added so it's Gazey as FUUUCCCCCCKkKKKKkKKkKKkK

My jaguar is right now in DADGAD, and my LP is in C standard (CFA#D#GC).
I can get my Kashmir and QOTSA now.

foomanfat wrote:Thinking about "bomb" tuning my baritone.
EEADF#B

I took this a step further and just went: DDADGB

I used to play in a band with a guy who tuned down an octave; he had to buy six string bass string sets. We ended up kicking out the bass player. Does that even count as an alternate tuning?

I started playing in Open C tonight after watching a Devin Townsend video. I'm never going back.

Dadaad. Is that crazy? Often play the doubled a string as a single melody line and let the others drone. Sometimes go with a barre across all strings. Whatever.

I like the idea of a drone string, but it never really translates to songwriting for me.

maxwellm wrote:Dadaad. Is that crazy? Often play the doubled a string as a single melody line and let the others drone. Sometimes go with a barre across all strings. Whatever.

No, that's crazy awesome for weird 'n wonderful droning and absolutely infernal disharmonic stuff. I used to tune a bass to DDDG for some songs and play it like it was a guitar.

maxwellm wrote:Dadaad. Is that crazy? Often play the doubled a string as a single melody line and let the others drone. Sometimes go with a barre across all strings. Whatever.

This is more or less what I do with my CCGCGC tuning.

Any suggestions of where to go from there? Maybe tweak one string to add some classy tasteful interval (sus2 or something) My theory is pretty weak.

I don't do theory very well. The only reason I ended up with Dadaad was I couldn't figure how to do a monotune tuning without breaking half the strings. I like the fifths tunings because they don't have that yucky third to tell you how to feel when you're listening.

snipelfritz wrote:

maxwellm wrote:Dadaad. Is that crazy? Often play the doubled a string as a single melody line and let the others drone. Sometimes go with a barre across all strings. Whatever.

This is more or less what I do with my CCGCGC tuning.

Any suggestions of where to go from there? Maybe tweak one string to add some classy tasteful interval (sus2 or something) My theory is pretty weak.

D would be open-ended. I like satan, so I'd add an F# in there.

Zounds Perspex wrote:

snipelfritz wrote:

maxwellm wrote:Dadaad. Is that crazy? Often play the doubled a string as a single melody line and let the others drone. Sometimes go with a barre across all strings. Whatever.

This is more or less what I do with my CCGCGC tuning.

Any suggestions of where to go from there? Maybe tweak one string to add some classy tasteful interval (sus2 or something) My theory is pretty weak.

D would be open-ended. I like satan, so I'd add an F# in there.

F# tritonus sanctus diabolus in musica est

Tune every note to D; instant art crowd hipster cred