The difference between Drop Down Tuning and Drop Tuning

[knuckle_head]

Some get the difference here and some don't, so I thought I'd put some numbers behind what the physics suggests is the appropriate approach to each. I will use my data as I trust my numbers, but there is other information out there that I will link to so that you need not take my word on anything.

I will use the difference between E and D tunings for each instance for the sake of simplicity.

Drop Down Tuning is a shift of the entire string set. This keeps the intervals between the strings the same but lowers the pitch. This is often referred to as standard tuning and is specified to by the pitch of the lowest string. This also means that to keep the same or similar feel at the new tuning you need to adjust all the gauges of your strings. Your tuning would go from E A D G to D G C F if you were to drop down a whole step and have the same relationships and patterns on your fretboard.

Example; standard E set (my numbers and recommendation - ymmv)
E .100 - 38.7, A .076 - 40.2, D .055 - 37.7, G .040 - 37.1

To shift to a Drop Down D (D standard) tuning and keep the tension and feel consistent a set looks like this;
D .112 - 37.9, G .084 - 38.3, C .061 - 36.9, F .046 - 38.8

Drop Tuning lowers the pitch of the lowest string only and changes the relationship to a 5th interval, maintaining the standard 4ths intervals of the higher register strings. To accomplish this the only adjustment necessary is increasing the gauge of the lowest string.

Standard E from the example above;
E .100 - 38.7, A .076 - 40.2, D .055 - 37.7, G .040 - 37.1

To shift to a Drop D tuning a set would look like;
D .112 - 37.9, A .076 - 40.2, D .055 - 37.7, G .040 - 37.1

Shifting a whole step is pretty straight forward, but it can get confusing quickly if you are pursuing C, G, A or any other alternate tuning, Dropped or not. There are a multitude of variations and resources that can assist.

I approach sets and intervals differently than most manufacturers, but if you compare data you will find consistency in weights and tensions between what I do and what other manufacturers make available; there are only so many ways to wind a string so you can apply the available data to anyone's string offerings.

My unit weight and tension data is here; Circle K Tension Chart. D'Addario is gauge-consistent with what you will find from nearly every other manufacturer and can be applied to any manufacturer's gauges; D'Addario Tension Chart

I hope the linked resources prove useful, and I hope I haven't muddied the waters.

[Jester's Fury]

Good stuff! I'm still partial to taper-wound balanced Stainless sets from Ken Smith, but these have piqued my interest. Have individuals with allergies to nickel strings, or those with acidic sweat chimed in any information on the Circle K's? I'm eying the hybrids, but worried I'll get itchy lol.

[fourstringburn]

Drop down tuning all strings gives different timbres for the same notes I've found. Some people like it ,some don't. Good research on your part but does everything work as exactly as scientific data suggests?

[knuckle_head]

Jester's Fury - Circle K outer wraps have affected those sensitive to nickel. Steels are on the schedule.

fourstringburn - looser strings do indeed present a different timbre. A more pronounced fundamental with limited upper transients. Dropping an entire set will give you similar timbre across the set provided the differences in tension is consistent. It can sound pretty cool as long as the loss of tension is accommodated in setup with a little bit higher action.

Using a standard set of strings and dropping just the thick one shifts the timbre on the low string to the point that the low string can and often does sound as though it is from a different set of strings entirely.

[Stingray89]

Good stuff bro. I understand the difference but some don't. Thanks for the thread man.

[Jester's Fury]

Originally Posted by knuckle_head

Jester's Fury - Circle K outer wraps have affected those sensitive to nickel. Steels are on the schedule.

Thank you for your prompt response... and on a weekend too!! You're doing great work and I'm eagerly anticipating those SS's. I've always been a fan of tension balanced sets, but only a handful of manufacturers ever bother making them. You'd think more companies would with more and more bands utilizing not only drop down tunings, but alternate tunings as well.

[Bassguitarbubba]

Great explanation and it makes total sense. thanks!

[ixlramp]

'Drop tuning' can start on any note, the intervals between the strings will be fourths but with a fifth between the lowest 2 strings.

So 'Drop C' is CGCF

'Drop Down tuning' seems to be a recent phrase used by DR, it's usually called 'Standard' and can start on any note. The intervals between the strings are all fourths.

So 'Standard C' is CFBbEb

Circle K Strings sell sets for Drop tunings starting on any chromatic note and for any number of strings, the lowest string gauge is increased the necessary amount to keep all strings at equal tension.

They also sell all-fourths sets for any number of semitones of detuning.

[Dave Siff]

Originally Posted by knuckle_head

To shift to a Drop Down D (D standard) tuning and keep the tension and feel consistent a set looks like this;
D .112 - 37.9, G .084 - 38.3, C .061 - 36.9, F .046 - 38.8

Interesting. Thanks for the post.
How would you characterize your standard set, as far as "light", "medium-light", etc.? The reason I ask is that I played in DGCF for years, and after starting with a .045-.105 set, I switched to La Bella's M-70 set, which they say is built for DGCF tuning. The low D string is .111 -- very close to yours -- but the rest of the set is considerably heavier -- .090, .075 and .054. I thought those strings were awesome, especially the way I could put them on a previously standard-tuned bass with no neck, action or intonation adjustments needed. You've obviously put a lot of work into devising your string sets, so I'm interested in your perspective.

[knuckle_head]

I always found that there was a significant timbre shift in the thinner strings got on a bass - I always liked to have a similar sound at the fifth/open adjacent.

If strings are of like tension they seem to sound similar to my ears as playing technique matches and there is less of a difference in actual gauge between them. It is most noticeable in the two highest strings in the La Bella set you've been using - there is a .020 difference in the La Bella set, where mine has a .015 disparage. That .005 difference is 9% to 11% of total gauge and a huge difference in unit weight/mass.

I won't lose you in the math - it isn't about set gauges on this particular topic. It's more about the right gauge for the job at any given pitch. In the end it's about player preference. There are no wrong answers - just what you like and what you don't.