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Tunings: All the many newly-discovered Gibson tunings have been added, along with a historical variant listed in Hartman's book.

Gregg Miner, editor,

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Posts: 329
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i personally think this tuning is a tuning worth noting/exparamenting. i have discovered (thru Greggs listings) that it is simply a derivative of the original knutsen tuning simply offering more. first of all i d like to say that many players drop tune the guitar to Drop D, so in my opinion that D note is not necessary on the sub strings. which is why we start at C, and go down from there in a C major scale. CBAGED offering a low D, adding a 4th octave (which i personally think is more valuable). it seems to me that this is a more versatile sub section, and simply adds more range to the instrumnet. making it more ROCKIN! the more i play it the more i feel that it is the best possible use of the space, and sonic configuration.

Dave Powell

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Reply with quote  #3 
I posted this on another part of the site as well.  I'm trying to find out what people who play in DADGAD use as a typical 5-superbass Dyer style tuning.




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Reply with quote  #4 
The more I play my Dyer copy the more I see the usefulness of Stephen Bennett's GABCDG tuning (Guitar neck tuned as usual). I really use the D a lot but I like the E on the guitar neck so drop D tuning doesn't work for me. His tuning makes the D still easy to get to and the G can be tuned to F# which I like to have also. Of course the CBA are necessary and I have 2 choices for G. Does anyone else think the standard FGABCD is better? Why do you think so? Maybe it is better
     I read Tone's thoughts on this and I have read what the others who use DADGAD on the guitar neck have to say but I will stay with the standard tuning on the guitar neck.    Michael

Michael Schreiner

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Posts: 450
Reply with quote  #5 
My fingers stay well enough confused with SB's tuning. So I will have to say that the *best* tuning is the one that fits your style and abilities. Hearing all the folks at last years Gathering sort of proved that a worthy philosophy in my book. Each ones tuning worked very well for them and their style.

Dennis Mitchell
Vita Brevis, Carpe Guitarum!

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Reply with quote  #6 
IMHO, I believe in trying-out many different tunings to get the feel for them and see what happens. That goes for both 6-string and and other guitars. That said, harp guitars are much harder to retune on stage, so, since I only have one harp guitar presently, I tend to leave them close. This allows me to change tuning on stage during a performance without throwing things off too far. Next time Fred builds me a harp sympitar, I'll get one that I can leave in standard.

Both of the following are from Michael Hedges:
DGF#BAD/EADEAD - (MH - Chava's Song)
DGBbCAD/EADEAD - (MH - BIT, I use it for Wood Dragon & Ashes)
DBC#CAD/EGDEAD - (MH - prelude to cello suite #1 in gmaj)
DGF#C#AD/EADEAC# - (MH - the double planet)

My own explorations (I guess):
DGCBAD/EGDEAD - (I use this for my tune on HGD, Mahjabeen)
DGCBAD/DADFAD - (I use this for Sunset, New Moon... some would say that the 6th string main tuned to D is redundant, and that is correct when strings are left open... BUT, there are particular chords/voicings that require the use of a fretted 6th string in the tune and having that D pedal at that point while I am fretting the 6th is necessary.. or I'm just too dense to know better)

Carlson Oracle 24-string Harp Sympitar
Carlson Taproot 18-string Baritone Harp Sympitar

Wood Dragon (debut solo album)
Harp Guitar Dreams - compilation (track 8 - Mahjabeen)
Together Alone - B. Hoyt (track 2 - Martyr's Last Crossing)
What We Don't Know (digital single) - w/ Michael Manring

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Posts: 415
Reply with quote  #7 
I prefer the tuning DCBAGF(E) but playing kontragitarres I'm really on D#DC#CBA#AG#G(F#FE). I can understand the idea of having a high G or F i the basses but doesn't work at all for me....
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