I come from a metal background but my first teacher always pushed the importance of learning other genre's, starting with Blues and Jazz. I've never forgotten that. I appreciate Rhett for not being a metal guy. He gives a different perspective on the instrument.
I also came from a metal background when I first started playing. While I play primarily funk, blues, and R&B nowadays, there are some habits that have always remained with me from the metal days! One of those things is loving a tight low end and a “singing” midrange. Listening to various styles is also an excellent way to help with “writers block”
I come from a metal background as well and learning other genres has been such an awesome experience! There’s so much to incorporate into the music. I’ve also discovered others who I just love to listen to even though they’re not metal.
I found Buckethead to be a good inspiration in general for broadening genres and such, though of course i check out players in blues and r&b but buckethead seems to be a pretty good all in one for me
6:26 Rhett isn't discovering low tunings, but with your love of C# Standard, fuzz, and blues-based, Sabbath-esque riffs, you _are_ on the cusp of discovering *stoner rock*
I'm a big metal guy and I actually *love* tuning low (around C#, sometimes C) with normal gauge strings. Most metal players chase that super-tight, articulate sound, but something about that slinkiness translates into a really powerful, bark-y midrange at high gain, and I find it really appealing.
I like drop C with 10-52's, it's not super tight on the bottom but not too flubby either, the top end is about like playing with 9's in Eb, pretty slinky.
I do D 432 with 10-46 sets, common, standard strings. I used to love my 10-52 bridge cables, but I worked a lot harder. Bigger tone? Meh, I doubt it. Go watch the video for Five Minutes Alone, Dime was thrash af and thems was some floppy strings!
Tony Iommi’s main tuning for most of his career. He played with a fairly light set of string but I find this tuning sounds really good with 11’s. Just a personal preference.
I've tuned my guitars to D standard for years now and love it. Just goes to show you there's no right, or perfect way to go about playing guitar, or instruments in general. Do what sounds good, do what you like. Love the video Rhett!
I usually change my tuning according to the song that I want to play... But recently I was just too lazy and use a browser extension to transpose the song instead... (unless I'm doing a recording, which in that case I do need to change it to the proper tuning)
I have a bunch of guitars and usually I have several tunings going on. DADGAD, E flat standard, D standard, maybe an open G or D. I did have an open C on one of my acoustics for a while too. I like the variety and I'll even use a couple of different ones when I'm recording. I like the different sounds of the different voicings.
This is why I have 2 guitars in C# and 2 in standard E (an electric and acoustic in each). It really helps my playing and creativity to have different tunings.
One of the things I love about this tuning is you can add some awesome acoustic parts (in standard tuning) in that key, playing the chords C sharp minor, B, A, E, and F sharp minor with open B and E strings. It sounds beautiful
Also- it helps break up the redundancy when jamming with other guitarists/musicians with what is essentially different “phrasing” of chords. I.E.- say you’re jamming with another guitarist in E…. Since you’re in C# standard, you’ll be playing the E in the shape of G…..: So long as the person you’re jamming with can hold their own and isn’t getting flustered trying to follow your hand/neck position. It’s also really challenged me to learn theory and memorization of note/chord names, not depending on thinking about notes/chords I’m playing relative to where I’m at on the neck.
C# standard is an amazing middle ground tuning. It’s low enough to sound heavy with high gain, but with a low gain or just a clean channel with a little grit, it still sounds bright and articulate. I use 11-56 gauge strings. I’ve found that gauge gives the perfect balance of tuning stability with that loose feeling with bends and legato.
C# standrd is gratis for Death metal and thrash. I use a 7 string set minus the middle string so I end up with .11 .14 .18 .38 .48. .58 with a floyd, the tight low end strings are great for riffs while keeping the high end bendable,
Its a fact that tuning lower feels and sounds great, it has that kind of haunting/howling sound or character. A really good example of that vibe is Hendrix's Voodoo Chile (not slight return) from the Electric Ladyland record. He was tuned in D standard and man, it gives me chills every time I listen to it
Another metal guy here… I use C and C# standard all the time. But what Rhett is doing is very different to what I do. By not compensating with the string Gauge and set up you really do get a different kind of sound. Tbh I’m surprised how different it is. Also very impressed at being able to keep things in tune with stings that light tuned that low.
I use 11s in c# standard tuning on my semi hollow guitar and it’s a great sound I wrote my new song creaks in the obis on it defo gonna be my next song I put out
@@BasedHyperborean I watch a lot of music content cos its nice to understand some of my friends who are musicians and talk about stuff I usually don't understand lol
Funnily enough, my introduction to this tuning was actually A Perfect Circle. Billy Howerdel wrote most of their riffs in C sharp standard and the coolest take away from learning those riffs was playing octaves in a low tuning
I love how dark and warm these tunings are. B Standard on a 25.5" scale length guitar just sounds so much better than it does on a typical baritone because it's still a guitar. I've been listening to Ariel Posen a lot, and his sound is just perfect
Yeah, but it also introduces more fret buzz, and one has to raise the action a bit, or play with a lighter picking touch, heavier gauge strings help somewhat to compensate. It's why they make baritones in the first place, lower tuning means more slack in the strings. Raise both the string gauges and the scale length, and there's less string slack.
@@Bob-of-Zoid I never understood that, going with a longer scale increases tension and going with a thicker strings increases tension, why do both? I like a 27" scale tuned low, but I find the tension is perfect with light gauges. A longer scale with heavier strings just starts to sound like a bass IMO, (which is totally fine, if that's the sound you're after.)
@@bolland83 if you don't understand it, then because you don't have the relationships between scale length, string core size, the mass and weight increases that come with it, What string windings are for, and string tension in accordance with note frequency right. And then there's note accuracy throughout the fingerboard based on all that and how high your action is (More stretch to reach the higher notes) in order to reduce buzzing and assure clear ring which can get lost with too much buzz, and to where saddle compensation can't fix it, but a longer scale length for the more thicker and massive strings does help a lot. The higher tension on a string in any case, the higher the note. The larger the core, the lower it's natural note at the same tension as a string with a smaller core. It's not the windings, but the core that makes the notes, the windings are there to restrict additional movement of more massive cores allowing for lower action with less buzz. The tension does not go up in equal proportion of the cores gauge either, but exponentially less thicker the cores get. When you play higher notes, then you shorten the effective length of the string, so lower scale lower note at the same or less increase in tension. The subharmonic range changes too, and so more massive strings with more restrictive windings lose some of their brightness. Even alloys differ in physical properties, allowing for additional tweaks in tone and tension, and even tuning stability. What you are hearing is that brightness and twang retained for having thinner cores and less winding material than had he used an instrument with a higher string gauge and scale length match for better note accuracy. A fanned fret (Multi-scale) instrument is way more note accurate than parallel frets, as each string has it's own scale length.🧐 The way down tuned thin string sound is different for sure and rather cool, and they have more of a growl to them, but as demonstrated the intonation is all over the freaking place, and cannot be rescued. It's a big trade off, and you exchange some things for others. Heavy metal players use thinner strings at lower tunings too because of the feel and playing faster, but it doesn't help their intonation or action, and I have convinced many of them to get longer scales or at least thicker strings to get the accurate notes they demand, and they can use more distortion and EQ to make it growl, but it's a different growl, I know🥵. I love whacked out and alternative tunings, and often that alone can suggest which modes are better suited and with it the type of tune they work best in, and even the playing approach, as with the playing dynamics. 🤯 So really it's better to have different guitars of varying scales strung with appropriate string gauges and setup specifically for different tunings, than retuning one guitar and not getting the right intonation, sound, feel and string volume balance. I was hired many times to tech on stage where there's no time for all that, and in studios for album recordings and they charge by the hour, and so do I!! Messing around can get freaking expensive if I have to setup a guitar 3 different ways and risk missing the desired outcome for lack of pre-planning.🥴 Even worse, when you run out of saddle adjustment to set better intonation. I can't just move a whole bridge back 1/8'' easily, it being more of a surgical procedure.😷 Cheep and rough instruments make great Sitar sounds when you tune down or use really thin strings, and tune a few strings to the same note and use them as drones...It's psychomodelic!😵💫 Here Rhett is going for more of a "Slack guitar" sound as used in Hawaii where they tune way down and/or use really thin strings and get all kinds of good out of tune slop the rhythm guitars in their music sounds better with. For that matter their acoustics last a lot longer, and hardly ever have bridges pulling off, soundboards warping, and a need for neck resets.😅 They have their slide guitars tighter for more accurate intonation and cleaner sounds. So yeah, its the sound, but also the pitch accuracy you may be after, and sometimes you just can't have both.
The tone of that 335 is just plain killer. Love what you played at 5:15. I can see how this can also serve as an inspirational tool for writing, as I imagine it almost causes you to play different than you would were it in standard. I am not sure what that is, but something about the response and deeper tone seems to affect the overall muse of the guitar.
String tension's a lot less, and they become super easy to bend. So easy that the work becomes keeping them in control, which is a whole 'nother discipline.
The solo sound he had at 4:28 reminds me of Peter Frampton's sound on "Do you feel like I do." And earlier in the video - his 1-4-6-5 progression was strikingly similar to "She drives me crazy" by the Fine Young Cannibals.
No matter the genre, it's clear that the concept of tuning lower is a universal concept. Whether it's to give a baritone singer a break, breaking out of a rut/experimentation, or simply the typical metal "lower is heavier" mentality, it's truly something worthy of trying/having in one's repertoire.
Not only is it universal across genres, it's not even a new phenomenon. Players and makers of the Lute (The Guitar's predecessor) starting from renaissance 6 course Lute (course = doubled strings, think 12-string Guitar), started added more and more lower strings, 7 course, 8 course, 9 course, to where they ended up with a new instrument altogether, the Theorbo, which is basically like a Lute mixed with a Harp, with an elongated neck extension for those low heavy notes. Same thing happened when the Guitar took over, going from 4 courses in the Renaissance to 5 in the baroque, then to six single strings with that new low E in the Classical Period. That remained the new standard with some occasional 7 strings used by Jazz guys, with 8, 9, and even TEN string guitars in use by Classical players.
Lower tunings just have one issue which is they can get muddy quite easily, thus spread voicings are crucial as per my taste . I tried d standard and c# standard on my acoustic with walnut back and sides . The bass was phenomenal. I really loved it.
I always appreciated the album from the band Down- Nola. Playthrough album back to back in my opinion. Heavy Sabbath influence in every sense with their own Louisiana Delta flavour. Truly a C# masterpiece.
Been playing C standard for as long as I’ve been playing with a cellist. I find being able to go to that low C is really useful when playing with a cellist. Our bassist is tuned down to G0 C1 F1 Bb1
I just recently tuned one of my guitars down to C# to play along with some Sabbath and Uncle Acid tunes and it totally transformed the guitar for me. Songs I've played for years in 440 tuning sound completely different. I love it.
Coming from a metal background, I found C standard to be my favorite tuning. The guttural sound of the low strings hit just right for me, and the melodic quality of high strings is enhanced in my ears. I also find thicker strings a bit more comfortable.
It's a lush feel.... you can see why the old black blues guys gravitated to the lower tunings not only for their sonorous voices but the feel of the guitar is sweet too...
Between the Buried and Me is the first band that I ever tuned the guitar to standard c-sharp to learn their music. Through their whole career they've used exclusively in their band. I'm a metal guy because that's the music that I love the absolute most with my heart. But I started playing violin in the orchestra that I taught myself drums then I started guitar and had a jazz Bebop monolithic behemoth as my teacher, used to tour with like Frankie Valli, my point is all that shit that came from all those other genres is what really made me a better player
I've kept my 335 in C# standard for about 5 years now and it's just so so good! I've tried it on other guitars and while I like it, the 335 just sings differently.
@@ericmills9839 I have a 6 string tuned down to B standard, with Ernie Ball Skinny Top Heavy Bottom strings (10-52)... I love how loose and easy to bend it is!
@@scramblesthedeathdealer B! Holy smokes. On 25.5” scale? I have a similar set right now as I had meant to put on one guitar that I would keep in drop D and some of the alternate tunings Soundgarden used on some of my fave songs of theirs. Will have to give it a go now!
I think when ever we change something it just gives us new inspiration, and like you say Rhett, it can divert your mind from a rut, so valid from that perspective too.
This is my favorite tuning. This is the signature tuning to my favorite band *A Perfect Circle* and their genius guitarist Billy Howerdel. Billy has an awesome vid on TH-cam where he discusses C sharp tuning. This tuning is such a moody vibe and prescence that i love and Howerdel is criminally looked over IMO. Have a listen to anything off of 13teenth Step or Mer De Noms and you'll really see what the possibilities are with this particular tuning. Nice job with this video Rhett! I'm sure you've got some viewers tuning down atm and gonna spend this evening exploring the new possibilities! Love it!
Rhett, it is funny you having just released this video because the other day I was watching Levi Clay's video on a transcription of Albert King playing born under a bad sign on his notoriously downtuned Flying V. The craziest part about it were the bends that Albert could perform because of his guitar being tuning. Jack Pearson does downtune his personal Epiphone Flying V (a gift from Joe Bonamassa) with the intent of mimicking Albert. Having said this, it would be amazing if you do a video with Jack Pearson in the future. I feel like this guy is not talked about enough and since you have a quite large audience you could shed some light into his achievements. I mean, the man does not even have a Wikipedia page - which is unreal considering he has played for the Allman Brothers and with Gregg. Kudos to you on another amazing and informative video Rhett, all the best!
This also works on un-amplified guitar. I use that tuning on my nylon string guitar. It is a 1978 concert handmade instrument, and tuned to C# standard, it becomes something sonically quite different, and it is fantastic! My guess is that it brings out a different set of vibrations from the wood, as there are no pick-ups involved, obviously. The lesser amount of pressure on the top definitely has something to do with it, as would the lower action resulting from it. Would be interesting to hear what a luthier has to say.
I use a Piezo disk pickup under the soundboard of my Nylon String guitar, just behind the Bridge. It is one of rare instances where a Piezo sounds great, and can capture a natural tone. The trick is to use double-sided tape, and "Not" stick the Piezo to it very tightly. That will preserve that natural tone. If you stick it too tightly, you will get junky Piezo quack.
@@cletusbeauregard1972 Not really. I frequently use Drop D, also dropping the A down to G is common. I use Lute tuning (G string down to F# then capo on the 3rd fret) when playing Lute music. There are other fun tunings as well. 😎
This tuning has been used a lot by A Perfect Circle and some Stoner Rock bands like Kyuss. A very useful tuning if you want to sound bigger and fill the mix with tons of harmonics.
I played a huge show with Ween and Kyuss back in the day. Kyuss crushed it and I remember how massive their songs sounded no doubt due to these tunings.
I've been tuning my acoustic guitar (a Fender Dreadnought) like this for a few months now. First tried it because I wanted to sing a song that was too high for my voice. When I first played it I had my mind completely blown. Beautiful, full low end and a very rich sound overall. Never changed it back and I'm really thinking of getting a guitar for that as well. Plus, Rhett's tone on that second guitar was just so awesome!
As a metal guy I love blues guys discovering tuning down as some sort of black art. Like C# isn't even that low in my world but it's super low in this world
@@cwtag He's getting at that Metal guys who tune down do so for different reasons, and tend to go up in string gauge to keep a tight, heavy sound, while Blues Rock guys tune down to intentionally make use of that darker, thicker sound with regular gauge strings and capitalize on extra buttery bends.
Open C# minor chord (Like Em in E standard) is super epic sounding in C# standard. I love this tuning, and found it by listening to Between the Buried and Me. I have guitar I keep in C# that is always a joy to play
I think nodes rather than modes (I didn't see it mentioned scrolling through a handful of comments). Otherwise, your conceptualization of the change in timbre is good enough for the purpose of this discussion. Sounds great as usual!
It gives so much depth to the sound! I discovered this once with a Lance Keltner video about magnatone amps... this confirms it. Great video from Rhett as usual!
i tuned down to this a couple of months ago to play some A Perfect Circle songs and then realized how much I enjoyed the sound, the feel of the strings on my guitar, and how cool even other styles and genres sounded. haven’t tuned back up since.
C# standard with 10s! That's crazy!!! I used to keep a guitar in C# standard, but I was using a custom set of strings: 13-58s... I honestly never considered dropping my tuning like that without increasing the tension with thicker strings. It's sounds like you are having a blast with it!
@@Ramble1234 the guitar I used those strings on was a 25” scale length, so longer than Gibson, but shorter than Fender. Still, 13-58 tuned to C# gave me the same tension as 10s did on the same guitar. I actually wanted to tune to C standard, but I found the strings too slack and the pitch fluctuated with finger pressure more than I was comfortable with. However, I have a pretty firm grip and have always preferred a pretty stiff guitar.
Yes, I use the same gauge on Les Paul for C#, with the third string wound. Basically same tension of 10,5 on standard tuning. I tried lower gauge, but they are too sloppy, especially on low strings.
My church band does this song called “Ain’t No Grave” about once a month in the key of D and I LOVE dropping my guitar down to D-standard for it and feeling those gut vibrations rattle the room. It’s this gritty, dark sound I love from ringing out a down-tuned low E coming out of my dry, cranked Swart amp with some tremolo effect.
I've been using this tuning for years and love it. I've bring that to many bands where i've been and they all loved the sound of it. To me it's the best.
I totally agree on the slinky feel. I prefer to tune this low on my 24.75" scale Les Paul over my 25.5" scale Fender. The intonation and buzz and depth is what the chorus on the Digitech Whammy deep mode is trying to do in my mind. It's a very cool effect and the bends are awesome like you said. Vibrato with your fingertips is fun too - you can really bend the pitch with little input.
I have one guitar that I have set up and leave tuned to either c or c#. It completely makes this guitar come alive, the playability, tones and bends are heavenly!
The string waves and the location of the harmonic nodes are entirely dependent on the length of the string. When you play any chord form, the nodes will be in the same place. The difference is, now you need to use a G form to play an E. So yes, the waveform's nodes when you play an actual E are now in different spots relative to the pickups. That would absolutely make it sing a little differently. There may also be something with how the strings react under different tension. Lots of variables here.
The lower the tension the more harmonics become present, which is also why heavier stringers have more bass and could be muddy (the case of fortepiano and modern grand piano). The fundamental frequency becomes more pronounced as the tension is cranked higher. So in this case your guitar is tuned lower yet has a lot of higher harmonics to every note.
Dude, Rhett; I picked up one of the cheap-o squire baritone tele's playing just a few half steps lower than that... and it's religious. I totally get it. It's magic.
I used to tune my Ibanez AM50 to a C-minor sort of open tuning for years a couple of decades ago. Recently I had it set up with standard C# and I get exactly what you are talking about here. It's a very different and very inspiring experience. I did select another gauge and re-did the intonation, though.
I love going down to C standard, but with a 24.75” scale length, you really gotta go up in string gauge or the strings are too slinky and prone to sharp intonation. C# is about as low as I’d go with the same gauge.
Yeah, same. My 25.5" scale Hagstrom Super Viking was set up with 11s when I kept it tuned to E. Took a set of 13.5-60 with a plain 22 to keep a similar feel when I had it set up for C standard.
I mean, I've gone all the way down to drop a# with a set of 12-60 on gibson scale without any issue. It does feel slinky, but not any worse than a set of 9s in standard.
Years ago my nylon string kept slipping tuning so I just tuned it down to C# and I fell in love with it. I tried tuning it to D as well but it doesn't have the same magic. There's def something special about C# tuning esp for Blues licks.
Being someone that's more of a metal player than anything else, I'm both shocked and thoroughly in awe that someone like yourself has delved into the world of drop tunings.
That’s why I also love Ariel Posen’s tone. I dedicated my SG to B standard tuning, there’s something special and different about the tone and feel of it.
Ariel uses pretty thick string gauge (17's) to keep the tension as if it's in E-standart on 11s though. In this video Rhett talks that this super slinky feeling is part of the charm for him. But I agree with you on Ariel's tone, it's great.
I’ve had one of my acoustics permanently in this tuning for some time now because I have a lower voice so songwriting is perfect for me. This paired with the usual high-ended twinkly bits with doubling gtrs sounds SICK!
I don't tend to go lower than D Standard on electric but I realized years ago that I love the sound of C# Standard on acoustic. I found it by accident after changing strings for the first time. After I tuned it back up to D# (where I used to tune everything) I quickly realized the lower tuning sounded so much better. I have a solid mahogany Taylor that sounds so dirty this low (especially for slide). Great post, Rhett. Cheers.
I love your channel Rhett bc you highlight the practical things that come out of the beautiful space we have as guitarists to experiment. As a producer this educated me on how I might communicate these things to an artist. Fun fact: i believe Misery Business by Paramore and much of the songs on Riot and Franklin are in drop c# or thereabouts. Also and I leave this not to nitpick but to help: i believe you said modes in the video but I think you meant to say nodes. 2:54
You, beato, and a very few handful of others ... Are awesome to share these gems like this , thanks man .. I learned a lot in this video I have upgraded from cheap beginner guitars to prs , it actually stays in tune and I can't put it down and absolutely love this tuning!
Love that Tuning, was introduced to it via Pantera, but it’s amazing on a sparkly clean guitar. Makes the guitar real punchy, and mellow while retaining clarity. I agree that the lower tuning with lower tension allows you to get real expressive with your bends/vibrato, and feels more comfortable if you have a lighter touch.
I played in a hard rock/ punk/ metal band in the mid- to late-90s that preferred playing in "dropped nuts", which was basically dropped D down a whole step. It was thick and sludgy, dirges were crushing, and the faster stuff hit like an oversized freight train. Also about the time that 7-string guitars started showing up, alongside 5-string basses. Good stuff, Rhett! Thank you! 🙏🏻
6:30 there’s a musician in my town who plays a Silvertone acoustic modded with a P90 pickup. He’s a blues player, and he tunes his guitar to open C#. Low Volts is his name. I love when lower tunings are explored outside of metal.
I tuned down my hollow body Gretsch to C# completely changes the guitar sound and feel. Way darker sounding, yet the Gretsch pickups still pick up some brightness. Inspires new riffs.
I use this tuning regularly along with d standard. Those tunings have been the norm for me pretty much since about 2016 or 2017. C# especially sounds so damn cool. Everything you play in that tuning sounds nothing short of incredible. I believe we'll be seeing more songs in these more unique tunings
I did it to my les paul and it is my favorite thing to play with. Jazz, blues, rock you name it. This tuning is awesome! Opens up all kinds of new ideas with key signatures and chords. Just love it!
I love your tuning videos. One of the videos I continuously go back and rewatch is your D standard tuning. I love the little song in the beginning and was one of the first video that made me switch to my guitar to a new tuning. Love this video and will now have to try this tuning next!
I tried down tuning to D standard and love the sound. One particular guitar of mine (Ibanez Gio) very much likes lower tuning. It resonates unplugged so beautiful and rich, more refined compared to standard tuning. Maybe not only the relative placement of pickups change the tone, but some guitars neck and body react different at lower tunings.
I set up a guitar to "C#" standard a few months back. I chose a 25 1/2" scale length guitar and went with a set of 11's. It's Cool. (I use mine as a baritone-ish guitar for some of my Ambient stuff....or to get some different chord voicings)
I'm a metal guy and it did the opposite for me seeing you discover this tuning. It made me smile and be happy for you Rhett. Right on brother. I'm a 7 string guy now as of the last 5 years and I've always played in standard or drop A with 7 strings but recently I've been tuning to G#,C#,F#,B,E,G#,C# which is cool. I should have known it would be because when I was strictly a 6 string guy I tuned to C#. Anyways, glad you dig the tuning!I hope it inspires you for many many years
Welcome to the club Rhett. I have been using C and C# tuning since the late 80's. People would always comment on the tunes I used my C/C# on. You write in a whole different way.
I think C# Standard is a solid tuning because it sounds heavy without getting into the territory where it starts to get bit sloppy. I have one of my guitars tuned to B standard right now, and although I like the tuning it can be a bit tricky going that low on a 6 string even with heavier gauge strings. Most of Bolt Thrower's material is in C# standard and is a pretty good example of how heavy the tuning can sound.
I have been playing in C# standard since I was a freshman in college. It's great. It turns a C chord into A and G chord into E as you said. The bending is awesome and low end really reverberates through your body. Especially on an acoustic.
I started out on this journey tuning one of my regular guitars down to C standard. I didn't like the loose feeling even with 11 gauge strings so I finally got a baritone tuned to B standard (normal for a baritone). I find this tuning "sits" right where I like it in my mind. And B is easy to transpose to E standard, you just move everything over one string.
I have a Fender jazzmaster 60th anniversary tuned in C and I love it. It's really inspiring when I grab it to play a turn on the Slotva Reverb from walrus audio. It's totally different, the feeling of the strings, everything.
i as a rule don't comment on youtube videos. been watching Rhett for a couple years now and have seen some GREAT content. always worth the watch. this one though is my fav so far. i was watching with my wife beside me and made a comment about "oh, he's discovered low tunings finally" and kind of chuckled. THEN you called people like me out for it. Perfect! Love that guitar, but it sounds better in this tuning for sure. You should really drop that low string down to B. It sounds even greasier!
C# standard sounds so cool in this context! If you drop the 6th string down a full step, then you're in Drop B, which, as a heavy music guy, is my favourite (6 string) tuning 🤘🏻
C# and just regular c standard have been my favorite for months now. Just gives you the depth for lower notes without sacrificing anything higher up. No one plays that high up on the neck except for solos and even then I feel like the pros outweigh the cons
Rhett that Tele is just wicked cool in c# tuning. The casino was unrecognizable, in a beautiful way! Love the heaviness of the fuzz. Great of you to share that. I'm in ill try it! Cheers Doug 😎
Rhett ... Thanks for the video! You sound great, and I love that the C# tuning has given new life and creativity to your playing. Regarding one aspect of your evaluation though, I'm pretty sure that de-tuning your first doesn't change the nodes of vibration. If you think about it, you'll still get harmonics at the 12th, 7th, and 5th frets ... and that is all based on the location of those nodes. I'm not smart enough to tell you exactly what is happening, but my gut tells me those nodes aren't actually moving. Thanks for making great content!!
Been playing in C# standard for a few years, ever since I started trying to learn some of King Gizzard's heaver stuff (most of which is C# standard). Usually use Ernie Ball's 11s or Skinny Top/Heavy Bottoms on those guitars.
I am a huge fan of C # standard. I bought my Telecaster used a year ago and the guy I bought it from typically played deep southern rock and Texas country. His guitar was tuned and specifically set up to C # standard and also had 11s on it, a gauge I have never played before. I think that’s so they still had their power, but the tuning still bends so nicely, especially on that glossy neck. I decided to never change it back to East standard and that’s my one guitar that is tuned that way. I love playing it. It definitely carries a different vibe, and just playing that with some reverb and delay sounds like nothing else. I love it.
Very cool. Thanks for this. I hadn’t focused on how Albert King was tuned. Saw him live way back, and thought, “We’ll, monster hands equals monster bends”. Makes sense now. What you showed at the end is going to be fun in studio applications as well to give a song a certain something. Great video.
I use a PRS mike Mushok baritone ....tuned in standard and with 10 gauge.... the 27.7 scale length gives a similar 'slinky' n floating bend feeling...... n no need to transpose at all.... i just love it !
I kind of had a similar effect when doing the same thing for a 34" 4-string bass. Taking totally standard gauges down to c# standard (and sometimes drop B) scooped up certain frequencies that lent themselves to calm but powerful compositions, especially when plucking just barely over the neck. There's just something magic about that tuning!
Metal dude here too, love me some down-tuning even for rock and blues. The way the strings oscillate differently just sounds so good. Doesn't even have to be as low as a baritone, C/C#. Creedence played a lot in D standard and it's a noticeable change in feel and energy. Robin Trower likes D standard too. SRV in Eb. Not that far off from standard, but man what a difference. Dark, warm & chewy tones.
This sound is giving me total bluesy vintage and country vibe and I am loving the rustiness, great sound.. I keep my acoustic to flat standard. It suits my voice more, its less pressure to the neck and different experience but this crazy.
I come from a metal background but my first teacher always pushed the importance of learning other genre's, starting with Blues and Jazz. I've never forgotten that. I appreciate Rhett for not being a metal guy. He gives a different perspective on the instrument.
I also came from a metal background when I first started playing. While I play primarily funk, blues, and R&B nowadays, there are some habits that have always remained with me from the metal days! One of those things is loving a tight low end and a “singing” midrange. Listening to various styles is also an excellent way to help with “writers block”
I come from a metal background as well and learning other genres has been such an awesome experience! There’s so much to incorporate into the music. I’ve also discovered others who I just love to listen to even though they’re not metal.
Metal gang. This seems to be how Queens of the Stone Age gets that sound.
Same here. From Sabbath and Priest to Albert King and Grant Green. I didn't want to be one dimensional and I hate those that are.
I found Buckethead to be a good inspiration in general for broadening genres and such, though of course i check out players in blues and r&b but buckethead seems to be a pretty good all in one for me
6:26 Rhett isn't discovering low tunings, but with your love of C# Standard, fuzz, and blues-based, Sabbath-esque riffs, you _are_ on the cusp of discovering *stoner rock*
I bet Rhett would love All Them Witches! His playing in this video would fit right in.
Kyuss, Fu machu! Monster magnet!!!!!!! Clutch!!!!!!
Gets me every time in Drop C
If you reading this comment, check out BONGTOWERMOUNTAIN, I just discovered this band on bandcamp, the best stoner I ever heard
@@ultrawizardyeahyeahyeah I listened and I don’t think Rhett would like that. I enjoyed it though
I'm a big metal guy and I actually *love* tuning low (around C#, sometimes C) with normal gauge strings. Most metal players chase that super-tight, articulate sound, but something about that slinkiness translates into a really powerful, bark-y midrange at high gain, and I find it really appealing.
I started doing C# standard because of Behemoth
I like drop C with 10-52's, it's not super tight on the bottom but not too flubby either, the top end is about like playing with 9's in Eb, pretty slinky.
I do D 432 with 10-46 sets, common, standard strings. I used to love my 10-52 bridge cables, but I worked a lot harder. Bigger tone? Meh, I doubt it.
Go watch the video for Five Minutes Alone, Dime was thrash af and thems was some floppy strings!
My strat gets 11-56 in E standard and I always gauge up if I tune down.
@@jessejameskaine I play in dropped A# with 11-56 stings! :D
Tony Iommi’s main tuning for most of his career. He played with a fairly light set of string but I find this tuning sounds really good with 11’s. Just a personal preference.
Its a wonderful tuning
Zakk Wylde likes it a lot too. I tried and love it, especially on my SG.
respect to Iommi.
That was to suit Ozzy's voice and to make it easier to play for his disability....
That's why Dimebag Darrell used it for Pantera
I've tuned my guitars to D standard for years now and love it. Just goes to show you there's no right, or perfect way to go about playing guitar, or instruments in general. Do what sounds good, do what you like. Love the video Rhett!
I usually change my tuning according to the song that I want to play... But recently I was just too lazy and use a browser extension to transpose the song instead... (unless I'm doing a recording, which in that case I do need to change it to the proper tuning)
So…d-tuning is 6th to 1st, d,g,c,f,a,d…??
@@a.m.phaneuf6164 Yes
All my guitars are D tuned, it's so much more comfortable, obviously the guitar setup has to be for D tuning
I have a bunch of guitars and usually I have several tunings going on. DADGAD, E flat standard, D standard, maybe an open G or D. I did have an open C on one of my acoustics for a while too. I like the variety and I'll even use a couple of different ones when I'm recording. I like the different sounds of the different voicings.
This is why I have 2 guitars in C# and 2 in standard E (an electric and acoustic in each). It really helps my playing and creativity to have different tunings.
One of the things I love about this tuning is you can add some awesome acoustic parts (in standard tuning) in that key, playing the chords C sharp minor, B, A, E, and F sharp minor with open B and E strings. It sounds beautiful
Keep it metal Jason! 😉🤘
Also- it helps break up the redundancy when jamming with other guitarists/musicians with what is essentially different “phrasing” of chords.
I.E.- say you’re jamming with another guitarist in E…. Since you’re in C# standard, you’ll be playing the E in the shape of G…..: So long as the person you’re jamming with can hold their own and isn’t getting flustered trying to follow your hand/neck position.
It’s also really challenged me to learn theory and memorization of note/chord names, not depending on thinking about notes/chords I’m playing relative to where I’m at on the neck.
C# standard is an amazing middle ground tuning. It’s low enough to sound heavy with high gain, but with a low gain or just a clean channel with a little grit, it still sounds bright and articulate.
I use 11-56 gauge strings. I’ve found that gauge gives the perfect balance of tuning stability with that loose feeling with bends and legato.
I had one of my guitars in C standard, dropped it another half step to B... now I just wanna play Slipknot and stuff 🤣
I think D standard is a slightly better middle ground, but C# standard is a bit better if you lean towards high gain stuff. Imo
Oh that's so funny I found the exact same thing and I use it on my DBZ with a Floyd Rose. It's like the perfect fucking blend
C# standrd is gratis for Death metal and thrash. I use a 7 string set minus the middle string so I end up with .11 .14 .18 .38 .48. .58 with a floyd, the tight low end strings are great for riffs while keeping the high end bendable,
Can you compare ir to C Standard?
Its a fact that tuning lower feels and sounds great, it has that kind of haunting/howling sound or character. A really good example of that vibe is Hendrix's Voodoo Chile (not slight return) from the Electric Ladyland record. He was tuned in D standard and man, it gives me chills every time I listen to it
Another metal guy here… I use C and C# standard all the time. But what Rhett is doing is very different to what I do. By not compensating with the string Gauge and set up you really do get a different kind of sound. Tbh I’m surprised how different it is. Also very impressed at being able to keep things in tune with stings that light tuned that low.
As someone who uses hella thick strings, it certainly is impressive to me.
I use 11s in c# standard tuning on my semi hollow guitar and it’s a great sound I wrote my new song creaks in the obis on it defo gonna be my next song I put out
I'm not a guitarist, but what a beautiful sound that gives off.
Do you watch a lot of guitar/music content, or did you get algorithm’d? 😂
@@BasedHyperborean I watch a lot of music content cos its nice to understand some of my friends who are musicians and talk about stuff I usually don't understand lol
@@stewartmartin8382 Wow, that's pretty cool of you!
@@stewartmartin8382 that’s actually really awesome!
@@stewartmartin8382 We need more people like you in the world
Playing around with different tunings is such a great way to find inspiration - it's almost a 'hack' for writing new songs. Great video Rhett :)
I agree, that's why I have several guitars in different tunings, I tend to play differently on each.
@@scramblesthedeathdealer a great excuse to buy more guitars as well!
@@benmccarthy 😉👍
Funnily enough, my introduction to this tuning was actually A Perfect Circle. Billy Howerdel wrote most of their riffs in C sharp standard and the coolest take away from learning those riffs was playing octaves in a low tuning
I love how dark and warm these tunings are. B Standard on a 25.5" scale length guitar just sounds so much better than it does on a typical baritone because it's still a guitar. I've been listening to Ariel Posen a lot, and his sound is just perfect
Ariel Posen is simply amazing.
Yeah, but it also introduces more fret buzz, and one has to raise the action a bit, or play with a lighter picking touch, heavier gauge strings help somewhat to compensate. It's why they make baritones in the first place, lower tuning means more slack in the strings. Raise both the string gauges and the scale length, and there's less string slack.
@@Bob-of-Zoid I never understood that, going with a longer scale increases tension and going with a thicker strings increases tension, why do both? I like a 27" scale tuned low, but I find the tension is perfect with light gauges. A longer scale with heavier strings just starts to sound like a bass IMO, (which is totally fine, if that's the sound you're after.)
@@bolland83 if you don't understand it, then because you don't have the relationships between scale length, string core size, the mass and weight increases that come with it, What string windings are for, and string tension in accordance with note frequency right. And then there's note accuracy throughout the fingerboard based on all that and how high your action is (More stretch to reach the higher notes) in order to reduce buzzing and assure clear ring which can get lost with too much buzz, and to where saddle compensation can't fix it, but a longer scale length for the more thicker and massive strings does help a lot.
The higher tension on a string in any case, the higher the note. The larger the core, the lower it's natural note at the same tension as a string with a smaller core.
It's not the windings, but the core that makes the notes, the windings are there to restrict additional movement of more massive cores allowing for lower action with less buzz. The tension does not go up in equal proportion of the cores gauge either, but exponentially less thicker the cores get. When you play higher notes, then you shorten the effective length of the string, so lower scale lower note at the same or less increase in tension. The subharmonic range changes too, and so more massive strings with more restrictive windings lose some of their brightness. Even alloys differ in physical properties, allowing for additional tweaks in tone and tension, and even tuning stability.
What you are hearing is that brightness and twang retained for having thinner cores and less winding material than had he used an instrument with a higher string gauge and scale length match for better note accuracy. A fanned fret (Multi-scale) instrument is way more note accurate than parallel frets, as each string has it's own scale length.🧐
The way down tuned thin string sound is different for sure and rather cool, and they have more of a growl to them, but as demonstrated the intonation is all over the freaking place, and cannot be rescued. It's a big trade off, and you exchange some things for others. Heavy metal players use thinner strings at lower tunings too because of the feel and playing faster, but it doesn't help their intonation or action, and I have convinced many of them to get longer scales or at least thicker strings to get the accurate notes they demand, and they can use more distortion and EQ to make it growl, but it's a different growl, I know🥵.
I love whacked out and alternative tunings, and often that alone can suggest which modes are better suited and with it the type of tune they work best in, and even the playing approach, as with the playing dynamics. 🤯 So really it's better to have different guitars of varying scales strung with appropriate string gauges and setup specifically for different tunings, than retuning one guitar and not getting the right intonation, sound, feel and string volume balance. I was hired many times to tech on stage where there's no time for all that, and in studios for album recordings and they charge by the hour, and so do I!! Messing around can get freaking expensive if I have to setup a guitar 3 different ways and risk missing the desired outcome for lack of pre-planning.🥴 Even worse, when you run out of saddle adjustment to set better intonation. I can't just move a whole bridge back 1/8'' easily, it being more of a surgical procedure.😷
Cheep and rough instruments make great Sitar sounds when you tune down or use really thin strings, and tune a few strings to the same note and use them as drones...It's psychomodelic!😵💫 Here Rhett is going for more of a "Slack guitar" sound as used in Hawaii where they tune way down and/or use really thin strings and get all kinds of good out of tune slop the rhythm guitars in their music sounds better with. For that matter their acoustics last a lot longer, and hardly ever have bridges pulling off, soundboards warping, and a need for neck resets.😅 They have their slide guitars tighter for more accurate intonation and cleaner sounds.
So yeah, its the sound, but also the pitch accuracy you may be after, and sometimes you just can't have both.
The tone of that 335 is just plain killer. Love what you played at 5:15. I can see how this can also serve as an inspirational tool for writing, as I imagine it almost causes you to play different than you would were it in standard. I am not sure what that is, but something about the response and deeper tone seems to affect the overall muse of the guitar.
String tension's a lot less, and they become super easy to bend. So easy that the work becomes keeping them in control, which is a whole 'nother discipline.
The solo sound he had at 4:28 reminds me of Peter Frampton's sound on "Do you feel like I do."
And earlier in the video - his 1-4-6-5 progression was strikingly similar to "She drives me crazy" by the Fine Young Cannibals.
No matter the genre, it's clear that the concept of tuning lower is a universal concept. Whether it's to give a baritone singer a break, breaking out of a rut/experimentation, or simply the typical metal "lower is heavier" mentality, it's truly something worthy of trying/having in one's repertoire.
Not only is it universal across genres, it's not even a new phenomenon. Players and makers of the Lute (The Guitar's predecessor) starting from renaissance 6 course Lute (course = doubled strings, think 12-string Guitar), started added more and more lower strings, 7 course, 8 course, 9 course, to where they ended up with a new instrument altogether, the Theorbo, which is basically like a Lute mixed with a Harp, with an elongated neck extension for those low heavy notes. Same thing happened when the Guitar took over, going from 4 courses in the Renaissance to 5 in the baroque, then to six single strings with that new low E in the Classical Period. That remained the new standard with some occasional 7 strings used by Jazz guys, with 8, 9, and even TEN string guitars in use by Classical players.
Lower tunings just have one issue which is they can get muddy quite easily, thus spread voicings are crucial as per my taste . I tried d standard and c# standard on my acoustic with walnut back and sides . The bass was phenomenal. I really loved it.
I always appreciated the album from the band Down- Nola. Playthrough album back to back in my opinion. Heavy Sabbath influence in every sense with their own Louisiana Delta flavour. Truly a C# masterpiece.
NOLA has a blues flavour that is unmatched, that high gain C# tuning sound is so cool.
I LOVE that album.
Down rules, Hail The Leaf is in dropped B though
c# is such an amazing tuning, not so low, not so high, really gives everything a gloomy feeling
I feel like you can make melodic stuff out of it and dark sounding as well
My favorite alternate tuning is C standard and it's probably because of Metalocalypse
Tony Iommi
It's absolutely my favorite tuning.
Been playing C standard for as long as I’ve been playing with a cellist. I find being able to go to that low C is really useful when playing with a cellist. Our bassist is tuned down to G0 C1 F1 Bb1
"new standard" is a good tining for this too. C G D A B E
Absolutely love this tuning. I recorded a couple songs a few years ago with this tuning on my acoustic and it just sounded so open and lush 👌🏼
I just recently tuned one of my guitars down to C# to play along with some Sabbath and Uncle Acid tunes and it totally transformed the guitar for me. Songs I've played for years in 440 tuning sound completely different. I love it.
Yep, I use it for some Black Sabbath!
Man, I was just comment about UNCLE ACID (and Black Sabbath also)! Their tone is absolutely fantastic
Uncle Acid, hell yeah brother! Love those guys. ✊
Hell yeah Uncle Acid. Light up a bowl and doom out brothers.
Coming from a metal background, I found C standard to be my favorite tuning. The guttural sound of the low strings hit just right for me, and the melodic quality of high strings is enhanced in my ears. I also find thicker strings a bit more comfortable.
C standard rocks, liked that tuning mainly because of Qotsa
Same
It's a lush feel.... you can see why the old black blues guys gravitated to the lower tunings not only for their sonorous voices but the feel of the guitar is sweet too...
Between the Buried and Me is the first band that I ever tuned the guitar to standard c-sharp to learn their music. Through their whole career they've used exclusively in their band. I'm a metal guy because that's the music that I love the absolute most with my heart. But I started playing violin in the orchestra that I taught myself drums then I started guitar and had a jazz Bebop monolithic behemoth as my teacher, used to tour with like Frankie Valli, my point is all that shit that came from all those other genres is what really made me a better player
I've kept my 335 in C# standard for about 5 years now and it's just so so good! I've tried it on other guitars and while I like it, the 335 just sings differently.
What gauge you use? At least 11s? I’ve put guitars in D standard and fender scale it’s ok but would be so ropey on my 335.
@@ericmills9839 I have a 6 string tuned down to B standard, with Ernie Ball Skinny Top Heavy Bottom strings (10-52)... I love how loose and easy to bend it is!
@@scramblesthedeathdealer those are my favorites too
@@scramblesthedeathdealer B! Holy smokes. On 25.5” scale? I have a similar set right now as I had meant to put on one guitar that I would keep in drop D and some of the alternate tunings Soundgarden used on some of my fave songs of theirs. Will have to give it a go now!
@@ericmills9839 Yup, Ibanez RG220B, 25.5" scale.... they're "Slinky" af!
I think when ever we change something it just gives us new inspiration, and like you say Rhett, it can divert your mind from a rut, so valid from that perspective too.
This is my favorite tuning. This is the signature tuning to my favorite band *A Perfect Circle* and their genius guitarist Billy Howerdel. Billy has an awesome vid on TH-cam where he discusses C sharp tuning. This tuning is such a moody vibe and prescence that i love and Howerdel is criminally looked over IMO. Have a listen to anything off of 13teenth Step or Mer De Noms and you'll really see what the possibilities are with this particular tuning. Nice job with this video Rhett! I'm sure you've got some viewers tuning down atm and gonna spend this evening exploring the new possibilities! Love it!
Billy Howerdel’s solo album is impressive and a force.
Could not agree more!!! Billy is very underrated!
Rhett, it is funny you having just released this video because the other day I was watching Levi Clay's video on a transcription of Albert King playing born under a bad sign on his notoriously downtuned Flying V. The craziest part about it were the bends that Albert could perform because of his guitar being tuning. Jack Pearson does downtune his personal Epiphone Flying V (a gift from Joe Bonamassa) with the intent of mimicking Albert. Having said this, it would be amazing if you do a video with Jack Pearson in the future. I feel like this guy is not talked about enough and since you have a quite large audience you could shed some light into his achievements. I mean, the man does not even have a Wikipedia page - which is unreal considering he has played for the Allman Brothers and with Gregg. Kudos to you on another amazing and informative video Rhett, all the best!
I always loved the way a Telecaster sounds when tuned down. The neck pickup in these tunings sounds so good
This also works on un-amplified guitar. I use that tuning on my nylon string guitar. It is a 1978 concert handmade instrument, and tuned to C# standard, it becomes something sonically quite different, and it is fantastic! My guess is that it brings out a different set of vibrations from the wood, as there are no pick-ups involved, obviously. The lesser amount of pressure on the top definitely has something to do with it, as would the lower action resulting from it. Would be interesting to hear what a luthier has to say.
I use a Piezo disk pickup under the soundboard of my Nylon String guitar, just behind the Bridge. It is one of rare instances where a Piezo sounds great, and can capture a natural tone. The trick is to use double-sided tape, and "Not" stick the Piezo to it very tightly. That will preserve that natural tone. If you stick it too tightly, you will get junky Piezo quack.
alternate tunings on nylon-string guitars is a whole different ballgame, ain't it?
@@cletusbeauregard1972 Not really. I frequently use Drop D, also dropping the A down to G is common. I use Lute tuning (G string down to F# then capo on the 3rd fret) when playing Lute music. There are other fun tunings as well. 😎
I am an acoustic player, and always tune down D to D… great tone on both 6 and 12 strings…
That must be beautiful to play and hear.
BTBAM plays almost exclusively in C# standard. Love the sound of this tuning
That's why my friend and I call it "the Lord's tuning."
yeah same. and I'm pretty sure Laser Speed is their only non-C# song
That’s why I discovered this tuning in the first place. If only their songs weren’t unbelievably hard to learn 😂
This tuning has been used a lot by A Perfect Circle and some Stoner Rock bands like Kyuss. A very useful tuning if you want to sound bigger and fill the mix with tons of harmonics.
A great way if you need a heavier sound but you don't want drop D or half step down
Well. Huge part of Black Sabbaths catalog is in C#, hence why a lot of stoner guys use it.
I played a huge show with Ween and Kyuss back in the day. Kyuss crushed it and I remember how massive their songs sounded no doubt due to these tunings.
@@MikeSingSing I remember Black Sabbath played even lower, C standard but yes, they are still a huge inspiration for metal bands no matter the age.
@@simonedimarzio2557 Can't recall any Sabbath in C-Standart. C# was used from Masters of Reality up until Sabotage.
I've been tuning my acoustic guitar (a Fender Dreadnought) like this for a few months now. First tried it because I wanted to sing a song that was too high for my voice. When I first played it I had my mind completely blown. Beautiful, full low end and a very rich sound overall. Never changed it back and I'm really thinking of getting a guitar for that as well.
Plus, Rhett's tone on that second guitar was just so awesome!
As a metal guy I love blues guys discovering tuning down as some sort of black art. Like C# isn't even that low in my world but it's super low in this world
Yeah. I commented earlier that I still remember discovering this tuning learning Counterfeit by Limp Bizkit in the late 90’s
As a Scot,...it's crap.
@@Roger-qh2zpi believe the quote is “if its not Scottish, its crap”
In the video he says what he's doing isn't the same as what metal players do, how is it any different?
@@cwtag He's getting at that Metal guys who tune down do so for different reasons, and tend to go up in string gauge to keep a tight, heavy sound, while Blues Rock guys tune down to intentionally make use of that darker, thicker sound with regular gauge strings and capitalize on extra buttery bends.
Open C# minor chord (Like Em in E standard) is super epic sounding in C# standard. I love this tuning, and found it by listening to Between the Buried and Me. I have guitar I keep in C# that is always a joy to play
I think nodes rather than modes (I didn't see it mentioned scrolling through a handful of comments). Otherwise, your conceptualization of the change in timbre is good enough for the purpose of this discussion. Sounds great as usual!
Same. Nodes are the points at which the string isn't vibrating. I think he was close, but not quite clear on this.
It gives so much depth to the sound! I discovered this once with a Lance Keltner video about magnatone amps... this confirms it. Great video from Rhett as usual!
i tuned down to this a couple of months ago to play some A Perfect Circle songs and then realized how much I enjoyed the sound, the feel of the strings on my guitar, and how cool even other styles and genres sounded. haven’t tuned back up since.
Me, the metal fan watching this video, thanks you for acknowledging us and our low tunings.
C# standard with 10s! That's crazy!!! I used to keep a guitar in C# standard, but I was using a custom set of strings: 13-58s... I honestly never considered dropping my tuning like that without increasing the tension with thicker strings. It's sounds like you are having a blast with it!
Didn't Tony Iommi tune down to c# standard with 8s? I've always wondered how he managed to not fret everything sharp
@@ToneDeth. His fingertips were damaged in an accident
That's some really heavy strings. I usually use that for B Standard or Bb.
@@Ramble1234 the guitar I used those strings on was a 25” scale length, so longer than Gibson, but shorter than Fender. Still, 13-58 tuned to C# gave me the same tension as 10s did on the same guitar. I actually wanted to tune to C standard, but I found the strings too slack and the pitch fluctuated with finger pressure more than I was comfortable with. However, I have a pretty firm grip and have always preferred a pretty stiff guitar.
Yes, I use the same gauge on Les Paul for C#, with the third string wound. Basically same tension of 10,5 on standard tuning. I tried lower gauge, but they are too sloppy, especially on low strings.
My church band does this song called “Ain’t No Grave” about once a month in the key of D and I LOVE dropping my guitar down to D-standard for it and feeling those gut vibrations rattle the room.
It’s this gritty, dark sound I love from ringing out a down-tuned low E coming out of my dry, cranked Swart amp with some tremolo effect.
Second!
I've been using this tuning for years and love it. I've bring that to many bands where i've been and they all loved the sound of it. To me it's the best.
I totally agree on the slinky feel. I prefer to tune this low on my 24.75" scale Les Paul over my 25.5" scale Fender. The intonation and buzz and depth is what the chorus on the Digitech Whammy deep mode is trying to do in my mind. It's a very cool effect and the bends are awesome like you said. Vibrato with your fingertips is fun too - you can really bend the pitch with little input.
I have one guitar that I have set up and leave tuned to either c or c#. It completely makes this guitar come alive, the playability, tones and bends are heavenly!
Use this tuning for Sabbath and for personal songs. Great tuning, lot of fun!
Oh, and I’m using it on 9’s on my Tele!
Loved doing C# Standard for Sabbath and some Pantera songs. Now it's my go-to tuning for music in general.
I’ve adopted the madison Cunningham method. I do C standard with 13 gauge flats and it sounds so damn good.
The string waves and the location of the harmonic nodes are entirely dependent on the length of the string. When you play any chord form, the nodes will be in the same place. The difference is, now you need to use a G form to play an E. So yes, the waveform's nodes when you play an actual E are now in different spots relative to the pickups. That would absolutely make it sing a little differently.
There may also be something with how the strings react under different tension. Lots of variables here.
The lower the tension the more harmonics become present, which is also why heavier stringers have more bass and could be muddy (the case of fortepiano and modern grand piano). The fundamental frequency becomes more pronounced as the tension is cranked higher. So in this case your guitar is tuned lower yet has a lot of higher harmonics to every note.
Dude, Rhett; I picked up one of the cheap-o squire baritone tele's playing just a few half steps lower than that... and it's religious. I totally get it. It's magic.
I love this tuning for playing metal. I noticed the acoustic campfire songs from the game s.t.a.l.k.e.r. have the guitar tuned to C# standard.
I used to tune my Ibanez AM50 to a C-minor sort of open tuning for years a couple of decades ago. Recently I had it set up with standard C# and I get exactly what you are talking about here. It's a very different and very inspiring experience. I did select another gauge and re-did the intonation, though.
I love going down to C standard, but with a 24.75” scale length, you really gotta go up in string gauge or the strings are too slinky and prone to sharp intonation.
C# is about as low as I’d go with the same gauge.
I use 13-60 with a wound G on my SG for C standard. Anything lower than that and it's such a sloppy mess.
Yeah, same. My 25.5" scale Hagstrom Super Viking was set up with 11s when I kept it tuned to E. Took a set of 13.5-60 with a plain 22 to keep a similar feel when I had it set up for C standard.
I mean, I've gone all the way down to drop a# with a set of 12-60 on gibson scale without any issue. It does feel slinky, but not any worse than a set of 9s in standard.
Years ago my nylon string kept slipping tuning so I just tuned it down to C# and I fell in love with it. I tried tuning it to D as well but it doesn't have the same magic. There's def something special about C# tuning esp for Blues licks.
King Gizzard & the Lizard Wizard - Superbug BEST C# SONG EVER ON THE BEST C#. ALBUMB EVER... GHET DOWN OR GET BENT.
Being someone that's more of a metal player than anything else, I'm both shocked and thoroughly in awe that someone like yourself has delved into the world of drop tunings.
That's why I love Ariel Posen's tone, he tunes his guitar in B standard on a regular scale length, sounds so rich
Bill Steer from Carcass also plays in B standard I think, often on a Gibson Melody Maker. He keeps his tone quiet middy though, it's wonderful.
That’s why I also love Ariel Posen’s tone. I dedicated my SG to B standard tuning, there’s something special and different about the tone and feel of it.
Yes, I immediately thought if Ariel.
Alsoakes the fuzziness heavier and darker and just an overall hugely organic tone.
Ariel uses pretty thick string gauge (17's) to keep the tension as if it's in E-standart on 11s though. In this video Rhett talks that this super slinky feeling is part of the charm for him. But I agree with you on Ariel's tone, it's great.
I’ve had one of my acoustics permanently in this tuning for some time now because I have a lower voice so songwriting is perfect for me. This paired with the usual high-ended twinkly bits with doubling gtrs sounds SICK!
Sabbath tuning my friend
I don't tend to go lower than D Standard on electric but I realized years ago that I love the sound of C# Standard on acoustic. I found it by accident after changing strings for the first time. After I tuned it back up to D# (where I used to tune everything) I quickly realized the lower tuning sounded so much better. I have a solid mahogany Taylor that sounds so dirty this low (especially for slide). Great post, Rhett. Cheers.
@markiplier1818 Awesome. I have something for you.
I love your channel Rhett bc you highlight the practical things that come out of the beautiful space we have as guitarists to experiment. As a producer this educated me on how I might communicate these things to an artist.
Fun fact: i believe Misery Business by Paramore and much of the songs on Riot and Franklin are in drop c# or thereabouts.
Also and I leave this not to nitpick but to help: i believe you said modes in the video but I think you meant to say nodes. 2:54
I tuned my es 355 down to C standard tuning for chain of fools for a gig we did and it sounds insane I'll have to try out C#. Great video as always!
You, beato, and a very few handful of others ... Are awesome to share these gems like this , thanks man .. I learned a lot in this video I have upgraded from cheap beginner guitars to prs , it actually stays in tune and I can't put it down and absolutely love this tuning!
Love that Tuning, was introduced to it via Pantera, but it’s amazing on a sparkly clean guitar. Makes the guitar real punchy, and mellow while retaining clarity. I agree that the lower tuning with lower tension allows you to get real expressive with your bends/vibrato, and feels more comfortable if you have a lighter touch.
I played in a hard rock/ punk/ metal band in the mid- to late-90s that preferred playing in "dropped nuts", which was basically dropped D down a whole step. It was thick and sludgy, dirges were crushing, and the faster stuff hit like an oversized freight train.
Also about the time that 7-string guitars started showing up, alongside 5-string basses.
Good stuff, Rhett!
Thank you! 🙏🏻
"dropped D down a whole step" so drop C? or E standard with a low C?
@@siggiarabi - basically drop C tuning
6:30 there’s a musician in my town who plays a Silvertone acoustic modded with a P90 pickup. He’s a blues player, and he tunes his guitar to open C#. Low Volts is his name. I love when lower tunings are explored outside of metal.
I tuned down my hollow body Gretsch to C# completely changes the guitar sound and feel. Way darker sounding, yet the Gretsch pickups still pick up some brightness. Inspires new riffs.
C# has been my favorite tuning since I discovered it at 16! Works perfectly with my baritone voice! Great video!
I use this tuning regularly along with d standard. Those tunings have been the norm for me pretty much since about 2016 or 2017. C# especially sounds so damn cool. Everything you play in that tuning sounds nothing short of incredible. I believe we'll be seeing more songs in these more unique tunings
Not a blues player, but I’ve been playing in C# and Drop B for years. It’s a dope tuning. Feels good, and sounds gnarly on an LP through a 5150 😎
Ooh -- I love how mellow that tuning is!! Man, that sounds amazing!
Rhett as always just killing it, these videos have reignited my love for guitar, which after 24 years is something truly special. Thanks Rhett!
I did it to my les paul and it is my favorite thing to play with. Jazz, blues, rock you name it. This tuning is awesome! Opens up all kinds of new ideas with key signatures and chords. Just love it!
I love your tuning videos. One of the videos I continuously go back and rewatch is your D standard tuning. I love the little song in the beginning and was one of the first video that made me switch to my guitar to a new tuning.
Love this video and will now have to try this tuning next!
I tried down tuning to D standard and love the sound. One particular guitar of mine (Ibanez Gio) very much likes lower tuning. It resonates unplugged so beautiful and rich, more refined compared to standard tuning. Maybe not only the relative placement of pickups change the tone, but some guitars neck and body react different at lower tunings.
I set up a guitar to "C#" standard a few months back. I chose a 25 1/2" scale length guitar and went with a set of 11's. It's Cool. (I use mine as a baritone-ish guitar for some of my Ambient stuff....or to get some different chord voicings)
I'm a metal guy and it did the opposite for me seeing you discover this tuning. It made me smile and be happy for you Rhett. Right on brother. I'm a 7 string guy now as of the last 5 years and I've always played in standard or drop A with 7 strings but recently I've been tuning to G#,C#,F#,B,E,G#,C# which is cool. I should have known it would be because when I was strictly a 6 string guy I tuned to C#. Anyways, glad you dig the tuning!I hope it inspires you for many many years
Welcome to the club Rhett. I have been using C and C# tuning since the late 80's. People would always comment on the tunes I used my C/C# on. You write in a whole different way.
as a man with some injuries in both hands i tune me tele half step. i use 07 strings anyway MAYBE i need to step down another 1/2))
I think C# Standard is a solid tuning because it sounds heavy without getting into the territory where it starts to get bit sloppy. I have one of my guitars tuned to B standard right now, and although I like the tuning it can be a bit tricky going that low on a 6 string even with heavier gauge strings.
Most of Bolt Thrower's material is in C# standard and is a pretty good example of how heavy the tuning can sound.
I have been playing in C# standard since I was a freshman in college.
It's great. It turns a C chord into A and G chord into E as you said. The bending is awesome and low end really reverberates through your body. Especially on an acoustic.
I started out on this journey tuning one of my regular guitars down to C standard. I didn't like the loose feeling even with 11 gauge strings so I finally got a baritone tuned to B standard (normal for a baritone). I find this tuning "sits" right where I like it in my mind. And B is easy to transpose to E standard, you just move everything over one string.
I have a Fender jazzmaster 60th anniversary tuned in C and I love it. It's really inspiring when I grab it to play a turn on the Slotva Reverb from walrus audio. It's totally different, the feeling of the strings, everything.
I hadn't thought about tuning down to C# in a LONG time. Thanks for the reminder. Been playing on it all day, and loving every minute.
i as a rule don't comment on youtube videos.
been watching Rhett for a couple years now and have seen some GREAT content. always worth the watch.
this one though is my fav so far.
i was watching with my wife beside me and made a comment about "oh, he's discovered low tunings finally" and kind of chuckled.
THEN you called people like me out for it.
Perfect!
Love that guitar, but it sounds better in this tuning for sure.
You should really drop that low string down to B. It sounds even greasier!
C# standard sounds so cool in this context! If you drop the 6th string down a full step, then you're in Drop B, which, as a heavy music guy, is my favourite (6 string) tuning 🤘🏻
Sam Fender uses this stunning all the time. I love it! You probably didn't know but in 2:30 you played the chords from "You're not the only one"
C# and just regular c standard have been my favorite for months now. Just gives you the depth for lower notes without sacrificing anything higher up. No one plays that high up on the neck except for solos and even then I feel like the pros outweigh the cons
Rhett that Tele is just wicked cool in c# tuning.
The casino was unrecognizable, in a beautiful way!
Love the heaviness of the fuzz.
Great of you to share that.
I'm in ill try it!
Cheers
Doug 😎
Rhett ... Thanks for the video! You sound great, and I love that the C# tuning has given new life and creativity to your playing. Regarding one aspect of your evaluation though, I'm pretty sure that de-tuning your first doesn't change the nodes of vibration. If you think about it, you'll still get harmonics at the 12th, 7th, and 5th frets ... and that is all based on the location of those nodes. I'm not smart enough to tell you exactly what is happening, but my gut tells me those nodes aren't actually moving. Thanks for making great content!!
honestly low tunings (mainly anything below D) are SUPER underrated for clean stuff. like B standard can get super vibey without any heavy distortion.
Been playing in C# standard for a few years, ever since I started trying to learn some of King Gizzard's heaver stuff (most of which is C# standard). Usually use Ernie Ball's 11s or Skinny Top/Heavy Bottoms on those guitars.
I am a huge fan of C # standard. I bought my Telecaster used a year ago and the guy I bought it from typically played deep southern rock and Texas country. His guitar was tuned and specifically set up to C # standard and also had 11s on it, a gauge I have never played before. I think that’s so they still had their power, but the tuning still bends so nicely, especially on that glossy neck. I decided to never change it back to East standard and that’s my one guitar that is tuned that way. I love playing it. It definitely carries a different vibe, and just playing that with some reverb and delay sounds like nothing else. I love it.
Very cool. Thanks for this. I hadn’t focused on how Albert King was tuned. Saw him live way back, and thought, “We’ll, monster hands equals monster bends”. Makes sense now. What you showed at the end is going to be fun in studio applications as well to give a song a certain something. Great video.
I use a PRS mike Mushok baritone ....tuned in standard and with 10 gauge.... the 27.7 scale length gives a similar 'slinky' n floating bend feeling...... n no need to transpose at all.... i just love it !
I kind of had a similar effect when doing the same thing for a 34" 4-string bass. Taking totally standard gauges down to c# standard (and sometimes drop B) scooped up certain frequencies that lent themselves to calm but powerful compositions, especially when plucking just barely over the neck. There's just something magic about that tuning!
Metal dude here too, love me some down-tuning even for rock and blues. The way the strings oscillate differently just sounds so good. Doesn't even have to be as low as a baritone, C/C#. Creedence played a lot in D standard and it's a noticeable change in feel and energy. Robin Trower likes D standard too. SRV in Eb. Not that far off from standard, but man what a difference. Dark, warm & chewy tones.
This sound is giving me total bluesy vintage and country vibe and I am loving the rustiness, great sound..
I keep my acoustic to flat standard. It suits my voice more, its less pressure to the neck and different experience but this crazy.