Let me just head this off: I am aware that the thumb exists and (most of us) have five fingers. I'm considering the thumb as separate here since you don't typically fret with it. Just, you know, wanted to let y'all know.
@@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
@ 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.
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.
“New Standard”? Reminds of when Nigel, David and Derek changed their early band’s name , “The Originals” to “The New Originals” because “The Originals” had already been taken.
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...)
I was in the very first Guitar Craft class in 1985. It was an incredible experience that went beyond actual guitar playing. There were multiple guest instructors besides Fripp, and the course included yoga, meditation, dance, and philosophical discussion. It's an understatement to say that it changed the way I perceived music forever. P.S. The Ovation guitar requirement came later. For the first year of Guitar Craft, people just brought their own guitars of any make (but acoustic only).
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.
I love playing in this tuning. I actually wrote an instrumental that utilizes it fairly well. I’m no amazing musician, but it is very fun to experiment with new tunings. You’re absolutely right. It’s like learning a whole new instrument.
This tuning also makes playing triads or seventh chords with spread voicings very easy. For instance, 5th string 5th fret, 4th string 5th fret, and 3rd string 6th fret gives you C minor, and adding the second string 6th fret gives you C minor seventh, voiced root, fifth, third, seventh low to high. Another voicing for the same chord could be 5th string 12th fret, 4th string 10th fret, 3rd string 13th fret, 2nd string 11th fret, voiced 5th, root, seventh, third low to high. Both tasty-sounding voicings. We guitarists are often looking for ways to avoid regular old root, 1st inversion and 2nd inversion triads because they really don't sound so good, and this tuning makes it easy to break out of that, with chord shapes that sit easily under the fingers.
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.
@@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.
The reason for the Ovation guitars is that Fripp was teaching his technique specifically, which involves holding the guitar in a very specific position that is painful to maintain with a larger bodied guitar, the shallow body of the Ovations were perfect for playing and learning that technique on an acoustic so thats what he recommended to his students.
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.
I keep at least one guitar in NST, but only to play Fripp stuff and when I want to get out of my habitual standard tuning licks. It’s mystifying and fun. Thanks for this video!
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.
@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 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.
While very interesting, something about it being called 'new' standard irks me. This doesn't do all the things standard can do, it's actually tuned like a guzheng, except for the last string, but that comes with loads of disadvantages as well as advantages. The point of standard is that it is the happy medium and can do a bit of everything relatively well without having to disconnect your knuckles to reach any of them. Like so many other things on guitar, the intervals are based on the compromise, even the tuning frequency and temperament are compromises. That is what standard is to me, not perfect, but happy in the middle. This isn't that, it is an alternative tuning not unlike open tunings or dadgad that excels at one or two things but is massively restrictive with regards to other things.
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.
I'm just commenting to make sure everyone knows that Robert Fripp is still alive. Seems like y'all are using the past tense as if he isn't around anymore.
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?
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?”
I have been using a variant on New Standard Tuning for about 10 years, CGDAEB. Instead of using the high G, I use a rentrant B, so it is lower than the E and a whole step higher than the A. This lets me use fifth tuning chord shapes everywhere on the neck and the B string gives closely voiced chords, which is not easy on a fifth tuned guitar. I can also double a note on the A and B strings, which has a cool sound.
A more easier tuning to pick up and use would be all fourths (EADgcf), which is used by Stanley Jordan and Alex Hutchings or the Gambale Tuning (ADgcEA), which is essentially a reversed Nashville tuning.
I think chords should be fairly intuitive if you just think about moving the third up an octave. So, I think a D major triad would be 224xxx. Then you could add the 7th, so Dmaj7 would be 2244xx. Now you can make a lot of chords by just altering those. D7: 2243xx. Dm7: 2233xx. Dm♭︎7♭︎5: 2133xx.
Super video mate. Nice to see something eye opening yet kinda familiar as I've dabbled with mandolin. Do you reckon you'll stick with this for a while to really get something out of it, or are you already onto the next cool new thing?!
IIRC, the Ovation guitars were in part motivated by them being one of the few acoustic guitar manufacturers that could stand up to the increased string tension associated with setting up NST with standard string sets. Considering how often acoustic 12-strings in the folk-rock heyday needed to be detuned and fitted with capos to prevent intense neck warping, this doesn't surprise me. I've used NST now and again, and one thing that I think it excels at that isn't discussed very often is using extended chords with distortion. By having wider intervals between notes (i.e. stacked 5ths and 6ths rather than 3rds), it cuts some of the intermodulation "mud" you get playing non-power chords in standard tuning. Super helpful if you like the kind of diminished, augmented, or outright jazzy tonalities blasted through a Big Muff like you'd find in King Crimson repertoire. Also, IIRC from Robert's online diary (formerly hosted on the DGMLive website), he's elected to refer to NST as "Guitar Craft/Guitar Circle Tuning" going forwards, as he felt that calling it "New Standard Tuning" was either a little presumptuous or didn't quite fit in with what he was trying to do with it.
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.
One thing I love about NST is how full 1st and 2nd position bar chords sound, especially making them maj7ths and 9ths. I use that tuning when I want big Slowdive chords.
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.
@@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?
I've been playing in super chaotic tunings and have been looking for a new direction. This looks great because I already play cello and violin. Now I can tune it like a REAL string instrument!
I've been playing in this tuning for a few years and I'll say a few things about it. First, the high G string is pretty much at it's physical limits as far as tuning goes, so definitely keep some extras on hand as it's the most likely to snap (followed by the A-string- not a bad idea to keep one of those handy as well). Second, the C string loses some tonal definition and exhibits 'tuning finickiness' being so low and you can get some fret buzz to top it off. I almost think the guage should be a bit higher here.. perhaps a 58. That's what I use. As far as playbility, this tuning does not lend itself so well to fingerstyle playing, so if that's what you play, it's not going to work so well. It does, however, have some advantages with a plectrum, and it's no surpise this is what crafties use anyway. You can get chord voicings on two adjacent strings that you wouldn't be able to get in old standard tuning without hitting a 3rd string in between. And yes, it can be 'stretchy' for reaching some of those chord voicings.
@@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.
@@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.
Great video. Very informative. Could you please do a video on Ralph Patt and Major-thirds tuning. I have been using it for a year now on 6 strings (F - A - C# - F - A - C#) and will never look back.
As someone who played Cello for ten years, you have to think more in terms of sixths when building chords.The basic chord shape is a barred fifth on the bottom with sixths stacked on top of that
I haven’t played in standard tuning in over 20 years. I have 6 guitars all strung in a different tunings. NST is one of those tunings. Every time I pick up one of my guitars, I feel like a novice for about 20 minutes until I start finding places to land on the neck. It keeps the creative juices flowing.
I've been playing in NST since 1989, the year I first came into contact with Guitar Craft. It's hard to play your old repertoire, for sure, but then you invent a lot of new things you've never heard before. I've built two custom Les Paul-style guitars to bolster the wider voicings.
I’ve played mandolin for almost as long as I’ve played guitar. But I’ve never explored different tunings much. But I recently picked up a Boss GP10 and Godin Freeway with the hexaphonic guitar synth pickup and really enjoying it. It makes any tuning possible without changing the actual tuning of the strings. So now I’m going to create a patch called “Fripp NST”. Can’t wait!
Call it "Fifths Tuning" maybe, but "standard" assumes it's universally accepted. Alternative tunings will always expand your playing style. Interesting to have as an option, but I'll pass on it being THE tuning.
Would like to see you go into more detail. I was in a huge rut, tried to play more recent KC but couldn’t reach. I read about the new NST and Guitar Craft after I’d given up. I’ll be trying again now.
I don't know too much about Robert Fripp so this was a really interesting and educational introduction explaining what he was doing. I guess maybe this works for people who have a spare guitar to restring :)
I have a Firefly collecting dust. So, I just said the hell with it and tuned t to NST, old strings and all. The low C buzzes but otherwise ok. I played leads over Tinariwen with it. Love it. Found this video looking for correct string gauge. Thanks! Going to have it set up too.
Mandolin player here... I think the biggest issue with fifths on guitar is that regular scales become four notes per string, wich is fine for small instruments like the mandolin or violin, but is very difficult on long scale instruments... The solution is using cello fingerings, wich require a lot of stretching and jumping around... Pentatonics become 3 notes per string and also quite stretchy
I've used CGCGCG as a go-to tuning for many years. It's the HUGEST tuning you'll ever use. You'll need to 'fine-tune' (lol) your string set choice if you're not using a fanned fretboard, but once you have a set that doesn't snap every thin, uptuned G, and keeps the low C taut, you'll have six strings which literally jump off the neck and assault eveyone with octaves, unison frequencies and tonal soundscapes like you never thought were possible. And it'll open up octaves upon octaves, and make the fretboard five times bigger than you're used to.
Just started playing Stick in a band with a guitarist who uses this tuning, as a standard tuning die-hard (my Stick is double EADGBE with one side down the octave) it's fascinating to watch him play and hear him talk about how it works.
Wait ... you had never put the set of strings you designed for NST on a guitar or played it? How did that work? + you have my Epi - same color everything but my Pelham Blue ES has those super quiet, but super loud and bright humbuckers rather than p90s and the fret board is all inlays and not dots. Great guitar. Great taste!
@@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.
I started playing cello before the guitar. I had a similar thought of tuning in all fifths, but keeping the high E, and tuning down to a low F. As in, FCGDAE. You’d have the range of both bass and guitar, and keep the fingerings of the cello.
I play mandolin and I wondered why the guitar isn’t tuned in fifths. I got some cool sounds out of it, but the stretches were really limiting, especially compared to the mandolin.
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
Nice vid! but if I could point something out it's the fact that you say the options for 5th tunning way to fast and we don't get any visual aid, so I had to pause and rewind the video in order to fully grasp what you were talking about
So a long time ago I wanted to learn Pantera. Mouth for War. As a new player, I relied heavily on drop tuning to learn all the Tool and Pantera. But Mouth for War is in standard E. I couldn't move my claw grip power chord fast enough, so I tuned the 5th 4th and 3rd string _up_ so I could play those power chords in drop configuration. It was a neat sound and I wrote a song in that tuning that I've forgotten by now. Not much later I was trying to learn some Kitty songs (I know, I know, this was '02, okay?) And I downtuned the bottom 4 strings very much this same way so that 1 finger could play a full drop power chord, it was a full, deep, aggressive sound, then my friend got annoyed because I screwed up his guitar tuning.
That's very interesting 😄 I'm pretty new at playing guitar and just by playing around a bit recently I've found out how difficult it is to play certain power chords and thought: Why not just tune the guitar in 5ths? 😂
I tune my guitar in 4ths starting with low E. So it's EADGCF. I did this to get rid of the third between the G and B strings and make the scale patterns the same on every string set.
@@cyberoptic5757 I don't think its as good, and I've got a new instrument along the way ( an electric mandolin) and plan on tuning my guitar to B standard for low end rhythm playing like in some heavy metal music. The reason it isn't as good for accompaniment is because it puts notes further out of reach on the C and F strings. Also, I've had to learn chords by figuring them out myself instead of looking online or in books. But the cool thing about guitar is how many different ways there is to play something, so it can still work especially if you're playing chord melodies.
I want to see people chord through a zillion popular songs with this 'new standard tuning'. For instrumental pieces an alternate tuning can offer opportunities to create unique works, but there is no way I will ever classify this as 'Standard Tuning'
The concept and introduction of the zero fret for guitar as I see it is a great advancement for the instrument. I had read some about it and wanted to try it out. I bought a Rouge acoustic mighty cheap and added the frett myself and almost on the spot gained the advantage. Go to a music store and see if there's one on ✋ TKS.
You should probably check out Marty Grosz, he's the last of the old time plectrum players, he turns 90 next month and is still playing. He uses the Carl Kress Tuning which is the 4 strings in 5th's and I think the bottom two are in 4th's. Here's a pretty clear example in the classic swing style: ua-cam.com/video/l63tb17gFTM/v-deo.html Here's another good example, but you have to go through his schtick, which a recommend listening too, but he starts playing at 3:45 ua-cam.com/video/QfoigHsOX94/v-deo.html
Brian Reisig yes absolutely , I got screwed by spellcheck ...lol S!@t happens. 🥴🤦♂️🤷♂️ But thank you for the correction , Honestly. I think my point was made though. Their a dream guitar in the hands. And sound amazing . 🤠🎸🎶✌️
I would love to play an Adamas but the local guitar stores (Sam Ash, Guitar center) don't carry them in the stores. It's one of those dreams you have for when you win the lottery. Us poor boys have to settle for the cast offs in the used gear dept.
Paul the Roman I get ya , I only have a 2nd hand celeb. (In pawn at the moment ) But my lead vocal guy has one that I grab every chance I get. Carbon fiber top , sounds and plays amazing. But I still really like my celeb also. Here’s a video of my using it live on “The rain song “ . Enjoy ua-cam.com/video/RMlTdBWQq7I/v-deo.html And remember “ a really cheap guitar in the hands of a player , will sound like a million dollars. And a $20,000 guitar in the hands of an amateur , will sound like a $20,000 guitar in the hands of an amateur. “ Diamond Lou 2020. 🤠🎸🎶🙏✌️
I guess a couple things I'd consider is that you could essentially use mandolin chord shapes and also that the notes as tuned are basically upside down.
I was already used to fifths tuning on my cello, mandolin, and low side of my Chapman Stick. And I have my fretless bass tuned in fifths too (AEBF#). So of course I 'had' to have a guitar tuned like that too 🤣 But I did take the Fripp tuning a half step lower, so low B to F#. This creates less tension, it suits my other guitars and basses better than starting from that C, and of course it saves money on constantly replacing those high strings 😎👍 (on which I prefer a 0.08) It's good fun!! 🤘
I used to play a lot in a similar tuning, but from a low rubbery F up to a high E, so straight up 5ths, mostly because I wanted to have bass notes available on my guitar for some faux Charlie Hunter things. Funnily enough i used my red Casino Coupe, very similar to your guitar in this video! If anyones interested, there are some vids on my channel
I really would like to try out a fifth tuning which would go A1 E2 B2 G3 D4 a4 with the gauges: .07 .12 .18 .34 .50 .64 but i think it would be need a really specific guitar with multiscale lenght for the good entonation
I learnt to play in open E. EBEG#BE. I always wonder why I sound a little off or wide in most songs I attempted to play, follow along with. But the blues I locked in with tight. This was the days before the internet. This went on for 3 years until I was 17! I went to a local guitar shop to buy a new guitar, they were all tuned funny. I could not play them. I had to re-tune the guitar I liked to be able to play it. This is still my standard tuning. I returned back to it after learning regular tuning riffs, which does feel or sound regular to me. :-)
If I were going to do this I'd likely take it down to a baritone A so that it was AEBF#c#e rather than CGDAeg. The high g is notorious for breaking in NST and if the whole thing is down a minor third with a high e, I think it would work far better with slightly longer than Gibson scale lengths
@@jaedii7287 you can still use standardish gauge strings to get standard register on a baritone. There are 7 strings with baritone scales after all. The only challenge with using something like 11s for tuning up to a high e is there's some serious tension so you do have to go a tad lighter for any expressiveness in vibrato etc (I use 10s for a high e on a 27 inch scale anyway) I'd more than likely do it on a multiscale or a 26.5 inch scale anyway.
Let me just head this off: I am aware that the thumb exists and (most of us) have five fingers. I'm considering the thumb as separate here since you don't typically fret with it. Just, you know, wanted to let y'all know.
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!
California Guitarists Drop Acid Every Gig
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
'You know how you like drop D?
...you like it, admit it.'
God dammit, I doooo 😭
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
“New Standard”? Reminds of when Nigel, David and Derek changed their early band’s name , “The Originals” to “The New Originals” because “The Originals” had already been taken.
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...)
I was in the very first Guitar Craft class in 1985. It was an incredible experience that went beyond actual guitar playing. There were multiple guest instructors besides Fripp, and the course included yoga, meditation, dance, and philosophical discussion. It's an understatement to say that it changed the way I perceived music forever.
P.S. The Ovation guitar requirement came later. For the first year of Guitar Craft, people just brought their own guitars of any make (but acoustic only).
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.
I love playing in this tuning. I actually wrote an instrumental that utilizes it fairly well. I’m no amazing musician, but it is very fun to experiment with new tunings. You’re absolutely right. It’s like learning a whole new instrument.
This tuning also makes playing triads or seventh chords with spread voicings very easy. For instance, 5th string 5th fret, 4th string 5th fret, and 3rd string 6th fret gives you C minor, and adding the second string 6th fret gives you C minor seventh, voiced root, fifth, third, seventh low to high. Another voicing for the same chord could be 5th string 12th fret, 4th string 10th fret, 3rd string 13th fret, 2nd string 11th fret, voiced 5th, root, seventh, third low to high. Both tasty-sounding voicings. We guitarists are often looking for ways to avoid regular old root, 1st inversion and 2nd inversion triads because they really don't sound so good, and this tuning makes it easy to break out of that, with chord shapes that sit easily under the fingers.
Him: "The C that you'd see in drop C"
My brain: "Sí, sí"
Me who also plays cello: This ain't wierd
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
The chords are NOT intuitive! Me: *laughs in mandolin*
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.
The reason for the Ovation guitars is that Fripp was teaching his technique specifically, which involves holding the guitar in a very specific position that is painful to maintain with a larger bodied guitar, the shallow body of the Ovations were perfect for playing and learning that technique on an acoustic so thats what he recommended to his students.
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.
I keep at least one guitar in NST, but only to play Fripp stuff and when I want to get out of my habitual standard tuning licks. It’s mystifying and fun. Thanks for this video!
I had never heard this term before, and now I'm glad I didn't.
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
Side note: Devin Townsend has been using open C/Open b tunings. Really lovely sound for the stuff he plays
Yeah bb 🤘 Dev is the best!!!
Dev G.O.A.T.
In 5ths tuning: instead of trying to play major/minor 3rd intervals, try major/minor 10ths instead. Spread those chords out over an octave or two.
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 - ua-cam.com/video/0yqCvXRv2Cw/v-deo.html
So if this seems like Chinese to me, where do I start?
@@scribeofsolace I was wondering the same thing 😁
Great and Informative Video! 'String Joy' Customer For Life!
The high G is going to be difficult for bends, especially whole note ones. Robert Fripp (I've seen him play live) doesn't do string bending.
@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.
8:59 - With this tuning all Velvet Revolver riffs become King Crimson riffs... Behold...
I've got one guitar tuned in that tuning, but a whole step lower, and it's a pretty interesting tuning. Came out with some nice ideas using it.
While very interesting, something about it being called 'new' standard irks me. This doesn't do all the things standard can do, it's actually tuned like a guzheng, except for the last string, but that comes with loads of disadvantages as well as advantages. The point of standard is that it is the happy medium and can do a bit of everything relatively well without having to disconnect your knuckles to reach any of them. Like so many other things on guitar, the intervals are based on the compromise, even the tuning frequency and temperament are compromises. That is what standard is to me, not perfect, but happy in the middle.
This isn't that, it is an alternative tuning not unlike open tunings or dadgad that excels at one or two things but is massively restrictive with regards to other things.
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
I'm just commenting to make sure everyone knows that Robert Fripp is still alive. Seems like y'all are using the past tense as if he isn't around anymore.
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.
I have been using a variant on New Standard Tuning for about 10 years, CGDAEB. Instead of using the high G, I use a rentrant B, so it is lower than the E and a whole step higher than the A. This lets me use fifth tuning chord shapes everywhere on the neck and the B string gives closely voiced chords, which is not easy on a fifth tuned guitar. I can also double a note on the A and B strings, which has a cool sound.
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.
A more easier tuning to pick up and use would be all fourths (EADgcf), which is used by Stanley Jordan and Alex Hutchings or the Gambale Tuning (ADgcEA), which is essentially a reversed Nashville tuning.
I think chords should be fairly intuitive if you just think about moving the third up an octave. So, I think a D major triad would be 224xxx. Then you could add the 7th, so Dmaj7 would be 2244xx. Now you can make a lot of chords by just altering those. D7: 2243xx. Dm7: 2233xx. Dm♭︎7♭︎5: 2133xx.
I like the video. Would appreciate a few graphics with the tunings that you are talking about.
My own "standard tuning" is D A D G B D (Since ten years now... I don't even remember there is a regular one :):)
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.
Super video mate. Nice to see something eye opening yet kinda familiar as I've dabbled with mandolin. Do you reckon you'll stick with this for a while to really get something out of it, or are you already onto the next cool new thing?!
IIRC, the Ovation guitars were in part motivated by them being one of the few acoustic guitar manufacturers that could stand up to the increased string tension associated with setting up NST with standard string sets. Considering how often acoustic 12-strings in the folk-rock heyday needed to be detuned and fitted with capos to prevent intense neck warping, this doesn't surprise me.
I've used NST now and again, and one thing that I think it excels at that isn't discussed very often is using extended chords with distortion. By having wider intervals between notes (i.e. stacked 5ths and 6ths rather than 3rds), it cuts some of the intermodulation "mud" you get playing non-power chords in standard tuning. Super helpful if you like the kind of diminished, augmented, or outright jazzy tonalities blasted through a Big Muff like you'd find in King Crimson repertoire.
Also, IIRC from Robert's online diary (formerly hosted on the DGMLive website), he's elected to refer to NST as "Guitar Craft/Guitar Circle Tuning" going forwards, as he felt that calling it "New Standard Tuning" was either a little presumptuous or didn't quite fit in with what he was trying to do with it.
He also liked the way the ovation fit his body
It’s weird, even when he started playing on just power chords, my immediate thought, “yep that’s Robert Fripp”
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.
One thing I love about NST is how full 1st and 2nd position bar chords sound, especially making them maj7ths and 9ths. I use that tuning when I want big Slowdive chords.
Leo Fender Inventor of Most Popular Guitar Could Not Play Guitar.
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.
Last I heard, Fripp was actually sufficiently pleased with string lifetimes to resume tuning the top string to A.
I've been playing in super chaotic tunings and have been looking for a new direction. This looks great because I already play cello and violin. Now I can tune it like a REAL string instrument!
I've been playing in this tuning for a few years and I'll say a few things about it. First, the high G string is pretty much at it's physical limits as far as tuning goes, so definitely keep some extras on hand as it's the most likely to snap (followed by the A-string- not a bad idea to keep one of those handy as well). Second, the C string loses some tonal definition and exhibits 'tuning finickiness' being so low and you can get some fret buzz to top it off. I almost think the guage should be a bit higher here.. perhaps a 58. That's what I use. As far as playbility, this tuning does not lend itself so well to fingerstyle playing, so if that's what you play, it's not going to work so well. It does, however, have some advantages with a plectrum, and it's no surpise this is what crafties use anyway. You can get chord voicings on two adjacent strings that you wouldn't be able to get in old standard tuning without hitting a 3rd string in between. And yes, it can be 'stretchy' for reaching some of those chord voicings.
This is really interesting! Thanks for taking the time to make this.
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.
This is intriguing but idk if I’d call it any form of “standard” because If 80% play in EADGBE...that’s still the standard...
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.
It’s just as well fripp didn’t become a politician , most people find a new tuning and just use it , fripp wanted to change the world ,
Sweet video Scott, keep these comin'!
"They're... they're a normal size. They're normal." hahah
Great video. Very informative. Could you please do a video on Ralph Patt and Major-thirds tuning. I have been using it for a year now on 6 strings (F - A - C# - F - A - C#) and will never look back.
As someone who played Cello for ten years, you have to think more in terms of sixths when building chords.The basic chord shape is a barred fifth on the bottom with sixths stacked on top of that
I might have to try this three steps down from new standard tuning, I think it might be an effective method for getting around using a seven string. 🤔
I haven’t played in standard tuning in over 20 years. I have 6 guitars all strung in a different tunings. NST is one of those tunings. Every time I pick up one of my guitars, I feel like a novice for about 20 minutes until I start finding places to land on the neck. It keeps the creative juices flowing.
My concern is will this affect my one-string-smoke-on-the-water guitar skill? I hate to customize my low E.
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...;)
I just ordered 4 sets of the electric strings linked in the description. Looking forward to seeing what I come up with using NST.
I've been playing in NST since 1989, the year I first came into contact with Guitar Craft. It's hard to play your old repertoire, for sure, but then you invent a lot of new things you've never heard before. I've built two custom Les Paul-style guitars to bolster the wider voicings.
I’ve played mandolin for almost as long as I’ve played guitar. But I’ve never explored different tunings much. But I recently picked up a Boss GP10 and Godin Freeway with the hexaphonic guitar synth pickup and really enjoying it. It makes any tuning possible without changing the actual tuning of the strings. So now I’m going to create a patch called “Fripp NST”. Can’t wait!
I am glad I was suggested your channel.
Call it "Fifths Tuning" maybe, but "standard" assumes it's universally accepted. Alternative tunings will always expand your playing style. Interesting to have as an option, but I'll pass on it being THE tuning.
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.
Would like to see you go into more detail.
I was in a huge rut, tried to play more recent KC but couldn’t reach. I read about the new NST and Guitar Craft after I’d given up.
I’ll be trying again now.
This feels almost Illuminate, been listening to a lot KC and watching some Guitar Craft videos
We're on the same wavelength it seems
A friend liteeally introduced me to Red two nights ago, then the algorithm strikes
I don't know too much about Robert Fripp so this was a really interesting and educational introduction explaining what he was doing. I guess maybe this works for people who have a spare guitar to restring :)
That is a beautiful guitar. I enjoyed your opening foray into NST, especially the high end/low end juxtaposition.
If you could have still-frame pictures in the corner displaying what you're mentioning in the moment without a guitar, that would be super helpful!!
a video on Fripps takes and takes on NST on bass in general or just weird bass tuining and string set ups would be sick too
Do something on Nashville tuning. I keep one box tuned that way. Great for strumming.
I already get anxiety tuning my b string for Christ sake
Mark Green I always anxiety even tuning my 7 string in drop A lol
@@advenchureswithmatt97 and they said playing guitar was a stress reliever psh they never tuned one
I have a Firefly collecting dust. So, I just said the hell with it and tuned t to NST, old strings and all. The low C buzzes but otherwise ok. I played leads over Tinariwen with it. Love it. Found this video looking for correct string gauge. Thanks! Going to have it set up too.
NST and Tinariwen, that must be a great combo! Want to try that too :)
Mandolin player here... I think the biggest issue with fifths on guitar is that regular scales become four notes per string, wich is fine for small instruments like the mandolin or violin, but is very difficult on long scale instruments... The solution is using cello fingerings, wich require a lot of stretching and jumping around... Pentatonics become 3 notes per string and also quite stretchy
I've used CGCGCG as a go-to tuning for many years.
It's the HUGEST tuning you'll ever use.
You'll need to 'fine-tune' (lol) your string set choice if you're not using a fanned fretboard, but once you have a set that doesn't snap every thin, uptuned G, and keeps the low C taut, you'll have six strings which literally jump off the neck and assault eveyone with octaves, unison frequencies and tonal soundscapes like you never thought were possible.
And it'll open up octaves upon octaves, and make the fretboard five times bigger than you're used to.
Didn't Toni Imomi play in that tune?
@@ronaldswangler2538 that's a pretty cool idea. I used to write in CGCGCFAD, but I wasn't very good at it.
Just started playing Stick in a band with a guitarist who uses this tuning, as a standard tuning die-hard (my Stick is double EADGBE with one side down the octave) it's fascinating to watch him play and hear him talk about how it works.
You Sir, get a thumbs up just for the Peavey VK and also your size of hands comment, which made me chuckle.
Wait ... you had never put the set of strings you designed for NST on a guitar or played it? How did that work? + you have my Epi - same color everything but my Pelham Blue ES has those super quiet, but super loud and bright humbuckers rather than p90s and the fret board is all inlays and not dots. Great guitar. Great taste!
I agree about helping with getting out of a rut. Sometimes you just have to shake it up!
can you tune a strat this way? I cant figure out how to do it
Thank you!
How does this work for classical music? Specifically, the ones originally written for piano? Thanks!
A whole new minefield...
9:00 for the velvet revolver bit
* happy fripp noises *
Blasphemy
Did you change the bridge saddles intonation to that specific tuning? 🤔
Check out Travis Meeks’ guitar tuning (Days Of The New). He plays a lot of open chords, and I have no idea how to tune F#, A, F, A...
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.
I started playing cello before the guitar.
I had a similar thought of tuning in all fifths, but keeping the high E, and tuning down to a low F. As in, FCGDAE. You’d have the range of both bass and guitar, and keep the fingerings of the cello.
Are there any songs that use this tuning?
OMG! I was thinking about what guitar I might want to try it on and was eying my 339 P90 Pro and lo and behold! That’s exactly what he used!
I play mandolin and I wondered why the guitar isn’t tuned in fifths. I got some cool sounds out of it, but the stretches were really limiting, especially compared to the mandolin.
and maybe that's why mandos and violins aren't in fourths, your fingers would be all crammed together trying to make a chord
So new standard tuning means, going djent is almost impossible???
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
Interesting elec. string size.
I use my custom sizing @
10/14/18/26/38/50.
Nice vid! but if I could point something out it's the fact that you say the options for 5th tunning way to fast and we don't get any visual aid, so I had to pause and rewind the video in order to fully grasp what you were talking about
What’s the name of that funky track you put while you were putting on the new strings on the guitar? That track is fire!!🔥
I am just happy with normal standard tuning
Nothing wrong with that!
So a long time ago I wanted to learn Pantera. Mouth for War. As a new player, I relied heavily on drop tuning to learn all the Tool and Pantera. But Mouth for War is in standard E. I couldn't move my claw grip power chord fast enough, so I tuned the 5th 4th and 3rd string _up_ so I could play those power chords in drop configuration. It was a neat sound and I wrote a song in that tuning that I've forgotten by now.
Not much later I was trying to learn some Kitty songs (I know, I know, this was '02, okay?) And I downtuned the bottom 4 strings very much this same way so that 1 finger could play a full drop power chord, it was a full, deep, aggressive sound, then my friend got annoyed because I screwed up his guitar tuning.
That's very interesting 😄 I'm pretty new at playing guitar and just by playing around a bit recently I've found out how difficult it is to play certain power chords and thought: Why not just tune the guitar in 5ths? 😂
I tune my guitar in 4ths starting with low E. So it's EADGCF. I did this to get rid of the third between the G and B strings and make the scale patterns the same on every string set.
what do you see as advantages and disadvantages for song accompaniment?
@@cyberoptic5757 I don't think its as good, and I've got a new instrument along the way ( an electric mandolin) and plan on tuning my guitar to B standard for low end rhythm playing like in some heavy metal music. The reason it isn't as good for accompaniment is because it puts notes further out of reach on the C and F strings. Also, I've had to learn chords by figuring them out myself instead of looking online or in books. But the cool thing about guitar is how many different ways there is to play something, so it can still work especially if you're playing chord melodies.
I want to see people chord through a zillion popular songs with this 'new standard tuning'.
For instrumental pieces an alternate tuning can offer opportunities to create unique works, but there is no way I will ever classify this as 'Standard Tuning'
it goes from super slick on the top to eerie on the bottom, i love it
The concept and introduction of the zero fret for guitar as I see it is a great advancement for the instrument. I had read some about it and wanted to try it out. I bought a Rouge acoustic mighty cheap and added the frett myself and almost on the spot gained the advantage. Go to a music store and see if there's one on ✋ TKS.
Seems like just the thing for playing Message in a Bottle for people with normal size fingers
How’s it for tune playing? Could look up some fiddle/Mandolin stuff on it
I like the sound of an ovation, but man are they peculiar
You should probably check out Marty Grosz, he's the last of the old time plectrum players, he turns 90 next month and is still playing. He uses the Carl Kress Tuning which is the 4 strings in 5th's and I think the bottom two are in 4th's. Here's a pretty clear example in the classic swing style: ua-cam.com/video/l63tb17gFTM/v-deo.html
Here's another good example, but you have to go through his schtick, which a recommend listening too, but he starts playing at 3:45 ua-cam.com/video/QfoigHsOX94/v-deo.html
I checked out Marty Grosz wow thanks for that... that old guy is a riot he rocked that out at his age like nothing super cool
If you’ve never played an “Adonis “ you’ve never played an Ovation.
Edited : thanks to Brian Reisig it’s actually an Adamas ...
✌️👍
You mean “Adamas”, right? I have one and it your comment is spot on.
qui est-ce, Adonis ?... Un de vos amis qui habite la région ?...
Brian Reisig yes absolutely , I got screwed by spellcheck ...lol S!@t happens.
🥴🤦♂️🤷♂️
But thank you for the correction , Honestly.
I think my point was made though. Their a dream guitar in the hands. And sound amazing .
🤠🎸🎶✌️
I would love to play an Adamas but the local guitar stores (Sam Ash, Guitar center) don't carry them in the stores. It's one of those dreams you have for when you win the lottery. Us poor boys have to settle for the cast offs in the used gear dept.
Paul the Roman I get ya , I only have a 2nd hand celeb. (In pawn at the moment ) But my lead vocal guy has one that I grab every chance I get. Carbon fiber top , sounds and plays amazing. But I still really like my celeb also. Here’s a video of my using it live on “The rain song “ . Enjoy
ua-cam.com/video/RMlTdBWQq7I/v-deo.html
And remember “ a really cheap guitar in the hands of a player , will sound like a million dollars. And a $20,000 guitar in the hands of an amateur , will sound like a $20,000 guitar in the hands of an amateur. “
Diamond Lou 2020.
🤠🎸🎶🙏✌️
I guess a couple things I'd consider is that you could essentially use mandolin chord shapes and also that the notes as tuned are basically upside down.
I was already used to fifths tuning on my cello, mandolin, and low side of my Chapman Stick. And I have my fretless bass tuned in fifths too (AEBF#).
So of course I 'had' to have a guitar tuned like that too 🤣
But I did take the Fripp tuning a half step lower, so low B to F#.
This creates less tension, it suits my other guitars and basses better than starting from that C, and of course it saves money on constantly replacing those high strings 😎👍 (on which I prefer a 0.08)
It's good fun!! 🤘
I used to play a lot in a similar tuning, but from a low rubbery F up to a high E, so straight up 5ths, mostly because I wanted to have bass notes available on my guitar for some faux Charlie Hunter things. Funnily enough i used my red Casino Coupe, very similar to your guitar in this video! If anyones interested, there are some vids on my channel
I really would like to try out a fifth tuning which would go A1 E2 B2 G3 D4 a4 with the gauges: .07 .12 .18 .34 .50 .64 but i think it would be need a really specific guitar with multiscale lenght for the good entonation
I learnt to play in open E. EBEG#BE. I always wonder why I sound a little off or wide in most songs I attempted to play, follow along with. But the blues I locked in with tight. This was the days before the internet. This went on for 3 years until I was 17! I went to a local guitar shop to buy a new guitar, they were all tuned funny. I could not play them. I had to re-tune the guitar I liked to be able to play it. This is still my standard tuning. I returned back to it after learning regular tuning riffs, which does feel or sound regular to me. :-)
On google close captioning, it has you saying that you design string hats. I think that's great.
Would this tuning work better with fanned frets?
If I were going to do this I'd likely take it down to a baritone A so that it was AEBF#c#e rather than CGDAeg. The high g is notorious for breaking in NST and if the whole thing is down a minor third with a high e, I think it would work far better with slightly longer than Gibson scale lengths
I don’t know much about baritones but wouldn’t an e for the high string have a lot of tension?
@@jaedii7287 you can still use standardish gauge strings to get standard register on a baritone. There are 7 strings with baritone scales after all. The only challenge with using something like 11s for tuning up to a high e is there's some serious tension so you do have to go a tad lighter for any expressiveness in vibrato etc (I use 10s for a high e on a 27 inch scale anyway)
I'd more than likely do it on a multiscale or a 26.5 inch scale anyway.
Calling this a new standard tuning is ridiculous. Making thirds difficult is the deal breaker....
But it makes it easy to play tens (thirds an octave up)
Yeah, it just spaces 3rds up an octave for the most part
Strumming the first two strings made me think of the intro to "Man On The Moon" by R.E.M.
@stringjoy what glasses are you wearing? They’re pretty dope!