Stringjoy the thumb is classed as a finger? I’ve always classed it, regardless of topic, as four finger and a thumb per hand.

@@Gothic_Analogue I'm with ya!

I love your strings! Just put ultra lights on my Tele. Thanks!

@@Gothic_Analogue five finger discount...five finger death punch...I rest my case

@@maxwhitten8376 Glad to hear it Max!

That's a pretty darn fitting pnemonic

@@Stringjoy there was a luther building nest guitars based on ovations for the "league of crafty guitarists " dunno if that's still a thing. I wish I could get some of their materials

Drop ACID tuning

@@Stringjoy Mnemonic.

Derek as cool as that would be it wouldnt work

Sol Sinclair lol

@ just being lazy and bar chording with a flat finger is why it gets a bad rep. Drop d and or c makes for a really killer alternate pick riff when done right.

Drop D is lit. Not my favorite, but still a really good tuning.

One of the staff at guitar center told me "idk why anyone would drop tune an acoustic" and im like dude you can play chords and create a nice open resonance with drop tuning. My teacher years ago taught me how to play basic chords in drop d.

Yeah, as if giving yourself more musical options limits your musicianship? Lol. Drop D’s great, everyone should try it

Ha!

Jazz Odyssey in NST. Now there's a thought!

"No one knows exactly how he died"

Those guys were way ahead of their time. Who would have thought that we'd have amps that go to 11? Genius, pure brilliance.

It's kind of presumptuous to have the word "standard" there at all. I mean if a whole lot of people start using it then OK. But currently about 3 people use it, and zillions use DADGAD (not my favourite tuning but there it is...)

Cello piccolo even has a fifth high E string. I imagine this tuning makes playing the Bach cello suites on guitar a whole lot easier!

Rock on Cello Dude!

I also started playing cello before guitar. I thought it would be interesting to add a low F, and keep the high E. Tuning would be: FCGDAE. Basically the range of both guitar and bass, with the fingerings of the cello.

Its weird. Cuz my guitars not a cello.

It's wierd because it's a joke

José Rodriguez lmao

You're laughing in a mandolin?.. eh?

哈哈

i keep a shortscale bass tuned to GDAe(nonwound E-string) like a low-ass mandolin, and lemme tell ya, the chords and scales are hella intuitive.

@@jasonfifi oo yeah. And reading? Now i know why violinists are always good readers, all fifths symmetrically is piss easy compared to standard with the b string involved. Guitarists get shit for reading cause we're handicapped af with the barre friendly accompaniment tuning we're used to.

Gary Reid Music same I’ll stick to standard tunning I’m to stupid hahah

You are 100% right. The reason you don't want to learn it is logical and more so than changing to a completely new tuning. It becomes highly illogical as it invalidates everything you've learned. Who the hell wants to spend 20 or 25 years playing guitar in standard tuning and then turn around and say "you know what I think I will forget everything I learned and relearn an instrument I damn near perfected playing". For this reason you are a logical person as am I. I will refuse to use this tuning because there is no need for it. It makes everything that was fun about playing guitar boring and dull. Like I really want to do drop D up and down the neck and stretch for thirds. The regular tuning has been used so much this is literally invalidating every guitarist who ever lived and I find anyone who does that like Robert Fripp and asshole because he is trying to introduce a musical theory that works fine on other instruments and incorporate it into an instrument that was never meant to be tuned that way. What should have told Fripp it was an asshole move and is stupid is he was breaking strings until he compromised, he failed to reach the high B. That fact alone should tell anyone that its a bullshit tuning. Its just a reason for people to say "I play it completely different" to feel special. What makes a guitarist special in my eyes is being on a stage with people listening. People listening is what makes a great guitarist. That shit sounded too weird and that final note he demonstrated was horrible and had zero melodic value. If someone isn't willing to listen to a person playing guitar in standard tuning and the person goes looking for a magical tuning, hardware, gear, technique or tone. Then that person didn't learn the guitar fully and instead of looking for a magic fix for their shit playing they should just practice like the rest of us did. That fucker should have invented a different instrument not fuck up one already in existence he had no input on the creation of. Thats literally fucking up someone's invention with a very unconventional approach. All other tunings I am fine with, this one just sucks a big fat crappy dick.

@@evilcowboy while i certainly agree that nst is not really a replacement for standard, i do think its rather limiting to not learn any alternate tunings. Sure you have to start from somewhere approximating ground zero, but it's not as if the end result of learning a new tuning is to simply be able to play as you would in standard but with new chord shapes and intervals. After having gotten into math rock I've learned facgce, daeac#e, as well as open d and e. It took a fair bit of effort, but i find alternate tunings to be an amazing writing tool, especially when you open up to more jazz type lydian chromatic theory harmony. Facgce especially is covered in maj7, min9, 69 chords as well as a surprising amount of sus chords you wouldn't normally think to reach for. I think Yvette young said it best when she recommended alternate tunings to find new harmonies and melodies that flow much more naturally than would ever in standard. Also Fripp's still a musical genius even if you don't want to acknowledge it.

@@evilcowboy Wow, you're the dumbest person I've seen for a while, impressive.

@@evilcowboy "A mind is like a parachute. It doesn't work if it is not open." --- Frank Zappa

That's wild! I'm super jealous, what a cool experience.

I had a friend that was involved in guitar craft classes back in the 80's. Personally I thought it was more trouble than it's worth.

Awesome to hear from someone that was there. Would you be open to further conversation regarding some of the philosophy and other matters discussed at Guitar Craft? please drop me a private message if you're up for the conversation, it'd be appreciated.

Yeh definitely jealous! Awesome awesome!

Sounds similar to what Victor Wooten does with his music camps. It's generally a bass camp, but it goes beyond just that.

RDE Lutherie They were the loudest band ! The amps were set to 11.

Drew Watterson tell me about it. He stopped by two weeks ago to use the toilet and he’s since eaten everything in my fridge,slept in every bed(snores!),and only bathes twice a week! Can someone come get him ,please?

@@williambock6975 the energy in this comment is so confusing

Drew Watterson it worked! Just had a funny image of Fripp couch surfing and wearing out his welcome. “He keeps tuning my guitars all weird!” “Yup that’s awesome Robert. But can you whistle it?”

Married to Toyah Wilcox. Going to make a Shovel like Justin Johnson's.

@Michael Miller I"ll agree to disagree. I've seen Robert Fripp live and recorded many times. He is a linear, intellectual player, a mathematician of the steel-string guitar. What he is not is Jeff Beck. A string as light as an .007 will sound 'tonky', especially in chording on a Fender-style amp. Of course, if one only plays Marshall-style distortion, the difference will be negligible, I suppose. (I have both types of amps.) I normally play Fenders, one with a Bigsby palm pedal, another primarily slide. The thicker the melody string the better the sustain, especially unwound. I use a brass block between the Strat tremolo and the wood of the body to increase sustain, also. Finally, I normally bend my strings at least a tone, often a tone-and-a-half, for delicate 'Albert King' style microtones. No problem bending here.

@Michael Miller Both of you suck. Stop assuming that either of you could ever understand how the other interprets their own instrument.

@@biga2 Facts; like the other dude said, agree to disagree

@Michael Miller Agree to disagree (again!). Since we are still practicing netiquette, and since I created the post, let me continue. Let's try a completely different tuning that still follows the rule of 'all fifths'. One could call it 'Zinc Chameleon' tuning, but Shot Jackson probably came up with it in the 1960s. From 1st to 6th: E, B, F#, C#, G#, D#. Note all I had to do was drop the bottom four strings by a 1/2 step. This would work fine with Ernie Ball's 'Beefy Slinky' set; no need for custom strings. An E maj chord fingering at 1st position would be: 1, 0, 3, 2, 0, 0. E min: 1, mute, 3, 4, 0, 0. Easy. I could use this tuning on a Telecaster with Rolling G and B benders (set to 1 1/2 steps up for suspended and seventh chords), and I would still have my pulls for the first and second strings, a trivial change of one fret for double stops on the 2 and 3 strings, and two-note power chords on the bottom three strings. Way more practical than 'New Standard Tuning', but still all fifths.

@Michael Miller I would argue it's meaningful in that it reflects the cultural placement of the guitar throughout time, it's held up for hundreds of years, served us well enough to develop a relatively sound pedagogy. I won't say we're up to date on it or that it should necessarily be the monopoly that it is, but still. It's purpose is to preserve the integrity of the barre shape and to allow simpler transposition at a time when we were seen as a purely accompaniment instrument.

That makes sense! Thanks for the info.

If you look at pictures of Fripp over the 70s into the 80s, it's like there's this progression of him holding it at higher and higher angles as he refines his technique.

Good call!

Yeah, with a fifth in between. For example: a triad made of C, G and E, in that order.

You could cheat and get one of these - kzfaq.info/get/bejne/Zt-hdtmJt9yWc6s.html

So if this seems like Chinese to me, where do I start?

@@scribeofsolace I was wondering the same thing 😁

Luckily it's not actually the new standard

The "old" standard tuning has been developed in centuries of lute and guitar playing, counterpoint playing in particular, and it is the best solution to allow a certain degree of "easiness" in the technique, together with the possibility to play almost "anything". I already have to sweat to play full alternating bass lines in Db Major (without using a capo!), i don't know whether it would be possible to do the same with the NST.

Like Fripp often does himself, it comes off as laughably pretentious

Yeah bb 🤘 Dev is the best!!!

Dev G.O.A.T.

That's a good one!

The B string deepens harmony and tensions (rather than the boring DADGAD)

Neil Young was a big fan of this tuning

@@simonpapworth9314 He used an open D: D-A-D-D-A-D

Double Drop D. Lots of fun.

Jason Day So what? He was smart enough to invite musicians and listen to them. Obviously, he also understood.

I’m always amazed that most players still consider the Fender Guitars and Amps, along with the Marshall amps, that were made in the early 60s(for Fender, second half for Marshall), as they best made. So many players still use gear from the era, or recreations if them. My 98’Strat is a reissue of a 63’ if I’m remembering correctly. Even the new analog tape delay effects being made, are pretty true to the originals, while adding a couple features to make them lighter, or easier to use. Buts it’s still an Echorec with drum heads, Roland Space Echo, or some form of Magnetic Tape Delay like an Exhoplex. The fidelity is just on another level from any DSP created thus far.

CorbCorbin What is so amazing about that?

@@HarryGuit No, he said he was amazed. He didn't say that all of those things were amazing. Why don't you read the damn post before you jump to conclusions?

HarryGuit Because it’s been 50 years.

Mark Green I always anxiety even tuning my 7 string in drop A lol

@@Studio_97CA and they said playing guitar was a stress reliever psh they never tuned one

I did it all just so you'd get 1,000 emails about this tuning I just told you about this morning

Yeah! Thanks for the education!!!

@@Stringjoy I'm really grateful for the effort you put in to provide me with more work to do. Gives my life meaning.

It's actually about standard correlation between each string.

@@nechastivi3187 bro youre thinkin too hard. look up the word "standard" and its literally in the word itself.

@@toemasmeems yeah, but there is D standard, C standard etc. Drop tuning is not standard bcs. correlation between lowest string is not standard with other strings. That's how I understood tunings on guitar.

@@toemasmeems You need to learn more about music. Nikolay is right.

@@FuraFaolox okay so you probably dont speak english properly and dont understand what the word "standard" means. anything other than a standard would be considered "alternate". this is basic english dude.

He also liked the way the ovation fit his body

Blasphemy

The name is pretentious I think, no offense to Fripp. Maybe a hopeful name that more would adopt it but time has shown nothing standard about it.

@@PaulHofreiter it is about the standard correlation between strings.

He literally said the dudes name 1 minute in.

Chris Maxwell well no shit Sherlock. It’s more saying that even when he’s playing something simple and ordinary like power chords, it’s in the vein of Robert Fripp.

link to sound?

Your comment should have more upvotes. I did something similar. Having a re-entrant highest string opens a lot of possibilities for chords.

Nothing wrong with that!

Smo... Smoke on the water is played on the a. I'm a bassist. I don't play chords. I'm an expert at one string notes

@@jacobsweat9484 I got no doubt on your "expertise" but you don't have to hide on a adult gay pornstar's name Mr.Jacob Sweat.

@@musikerongpanday4237 who's hiding...;)

NST and Tinariwen, that must be a great combo! Want to try that too :)

A whole new minefield...

I use a EB heavy bottom set for both tunings

We're on the same wavelength it seems

A friend liteeally introduced me to Red two nights ago, then the algorithm strikes

TheTrucker Ed Show nah it’s easier especially wider dissonance chords in the upper register or dissonant tapping would seem to be easier or just more jumpy melodies if ur into more prog oriented djent

I tune to A 11th open

@@thedevilsadvocate5210 That's interesting, I use open Emin11 as the iimin in D, iiimin in C or vimin in G. Tried to use same tuning as Amin11 without the 3rd, but it always functioned more as Emin11 anyway. But you're right it works very well as a dominant A 11 in D depending on what chords precede or or follow it.

and maybe that's why mandos and violins aren't in fourths, your fingers would be all crammed together trying to make a chord

William Bock I love that tuning! I used to have an old acoustic that I’d just leave in that tuning and pick it up whenever I wanted a break from my normal playing style.

But it makes it easy to play tens (thirds an octave up)

Yeah, it just spaces 3rds up an octave for the most part