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

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

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 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!

@@bolland83 drop c with 10-52 ernie ball strings might just be about the most common tuning for people who listen to metal. I swear everyone uses that exact setup

My strat gets 11-56 in E standard and I always gauge up if I tune down.

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.

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?

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

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

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.

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

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

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 😉👍

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.

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 😂

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.

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.

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.

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.

"new standard" is a good tining for this too. C G D A B E

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.

C standard rocks, liked that tuning mainly because of Qotsa

Same

Billy Howerdel’s solo album is impressive and a force.

Could not agree more!!! Billy is very underrated!

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!

Same. Nodes are the points at which the string isn't vibrating. I think he was close, but not quite clear on this.

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.

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.

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 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.