// reference
Every tuning,
written down
95 established tunings with their string-by-string notes. Steel tunings validated against John Ely's tunings master list and the Papa Dafoe database. Free to read, free in the app.
Something missing or wrong? Tell me and I'll correct it.
Guitar tunings
6-string 39
| Tuning | Notes, low to high | Notes on use |
|---|---|---|
| Standard (EADGBE) | E A D G B E E2 A2 D3 G3 B3 E4 | Standard EADGBE, the universal reference for six-string guitar. |
| Eb Standard | Eb Ab Db Gb Bb Eb Eb2 Ab2 Db3 Gb3 Bb3 Eb4 | All strings one half step below standard, darker tone, easier bends. |
| D Standard | D G C F A D D2 G2 C3 F3 A3 D4 | Whole step below standard, thick low end without drop-tuning asymmetry. |
| Db/C# Standard | Db Gb B E Ab Db Db2 Gb2 B2 E3 Ab3 Db4 | Three semitones below standard, very low tension feel, needs heavier strings. |
| C Standard | C F Bb Eb G C C2 F2 Bb2 Eb3 G3 C4 | Two whole steps below standard, extreme metal and baritone territory on a regular-scale guitar. |
| Drop D | D A D G B E D2 A2 D3 G3 B3 E4 | Low E to D; one-finger power chords on the bottom strings. |
| Drop Db/C# | Db Ab Db Gb Bb Eb Db2 Ab2 Db3 Gb3 Bb3 Eb4 | Eb standard with the low string dropped to Db. |
| Drop C | C G C F A D C2 G2 C3 F3 A3 D4 | D standard with low string to C, modern metalcore staple. |
| Double Drop D | D A D G B D D2 A2 D3 G3 B3 D4 | Both E strings to D, resonant open D with familiar middle strings. |
| Open G (DGDGBD) | D G D G B D D2 G2 D3 G3 B3 D4 | Open G major, the classic electric slide tuning. |
| Open D (DADF#AD) | D A D F# A D D2 A2 D3 F#3 A3 D4 | Open D major, lower tension than open E, classic acoustic slide. |
| Open E (EBEG#BE) | E B E G# B E E2 B2 E3 G#3 B3 E4 | Open E major, same intervals as open D a whole step up, brighter and tighter. |
| Open A (EAEAC#E) | E A E A C# E E2 A2 E3 A3 C#4 E4 | Open A major, high strings stay familiar to standard players. |
| Open C (CGCGCE) | C G C G C E C2 G2 C3 G3 C4 E4 | Open C major, deep, resonant, loose feel without heavy strings. |
| Open D Minor (DADFAD) | D A D F A D D2 A2 D3 F3 A3 D4 | Open D minor, dark slide and folk color. |
| Open E Minor (EBEGBE) | E B E G B E E2 B2 E3 G3 B3 E4 | Open E minor, like standard but natural G on the third string. |
| Open A Minor (EAEACE) | E A E A C E E2 A2 E3 A3 C4 E4 | Open A minor, C natural on top vs open A major. |
| DADGAD | D A D G A D D2 A2 D3 G3 A3 D4 | Dsus4 family, the defining Celtic/folk fingerstyle tuning. |
| CGDGBD (low C open G) | C G D G B D C2 G2 D3 G3 B3 D4 | Open G with a low C, deep bass under open G voicing. |
| New Standard Tuning (CGDAEG) | C G D A E G C2 G2 D3 A3 E4 G4 | Robert Fripp's all-fifths system, cello-like logic on guitar. |
| Nashville High-Strung | E A D G B E E3 A3 D4 G4 B3 E4 | Top four strings an octave up, 12-string shimmer for layering. |
| B Standard | B E A D F# B B1 E2 A2 D3 F#3 B3 | All six strings five semitones below standard. Requires very heavy strings; the low B1 approaches 5-string bass territory. |
| A Standard | A D G C E A A1 D2 G2 C3 E3 A3 | Seven semitones below standard; the low A1 is 55 Hz. Requires baritone-class string sets. |
| Drop B | B F# B E G# C# B1 F#2 B2 E3 G#3 C#4 | C# standard with the low string dropped to B: one-finger power chords at 61.7 Hz. A metalcore staple; needs heavy gauges. |
| Drop A | A E A D F# B A1 E2 A2 D3 F#3 B3 | B standard with the low string dropped to A (55 Hz), the floor of 6-string drop tunings. Requires heavy custom sets. |
| Sonic Youth: F# cluster standard Sonic Youth | F# F# F# F# E B F#2 F#2 F#2 F#2 E3 B3 | SY's most-used alternate tuning. All four low strings tuned to F#, creating a dense unison cluster. Used across EVOL, Sister, Daydream Nation, and most albums through Murray Street. |
| Sonic Youth: G G D D D# D# Sonic Youth | G G D D D# D# G2 G2 D3 D3 D#3 D#3 | Paired unisons in three groups. The D#/D# top pair a semitone above D/D creates characteristic SY dissonance. Appears on virtually every album. |
| Sonic Youth: E G D G E D Sonic Youth | E G D G E D E2 G2 D3 G3 E3 D4 | A spread open voicing with G on strings 5 and 3, E on strings 6 and 2. One of Thurston's most distinctive timbres across the 90s output. |
| Sonic Youth: F# F# G G A A Sonic Youth | F# F# G G A A F#2 F#2 G2 G2 A2 A2 | Three paired unisons ascending by step (F#, G, A). Dense and droning, particularly prominent on Evol and Sister. |
| Sonic Youth: open E spread Sonic Youth | E G# E G# E G# E2 G#2 E3 G#3 E3 G#3 | All strings tuned to E or G#, an open E major voicing. Every string rings an interval from the E major triad. |
| Sonic Youth: CGDGBB Sonic Youth | C G D G B B C2 G2 D3 G3 B3 B3 | CGDGBB, a spread voicing anchored on C that became central to the Washing Machine and A Thousand Leaves era. Provides open, resonant low end. |
| Sonic Youth: CGDGCD Sonic Youth | C G D G C D C2 G2 D3 G3 C4 D4 | Thurston's primary tuning from Murray Street through Rather Ripped. A suspended open voicing with two C notes and G/D filling the middle. |
| Sonic Youth: doubled low D open D Sonic Youth | D D A F# A D D2 D2 A2 F#3 A3 D4 | An open D major voicing with a doubled low D. Prominent on The Eternal, SY's final studio album. |
| Sonic Youth: D D# A# D# G G Sonic Youth | D D# A# D# G G D2 D#2 A#2 D#3 G3 G3 | An unusual chromatic cluster on the low strings (D, D#) that creates a dissonant bite. Central to the Rather Ripped sound. |
| Sonic Youth: A C C G G# C Sonic Youth | A C C G G# C A1 C2 C2 G2 G#2 C3 | A very low, dense cluster. The A1 on string 6 is unusually deep, requires heavier strings (EXL145 or heavier) to maintain playable tension. |
| Sonic Youth: G major scale fragment Sonic Youth | G A B D E G G2 A2 B2 D3 E3 G3 | A G major scale fragment across all six strings, ascending stepwise. Gives a clean, open harmonic quality unusual for SY. |
| Sonic Youth: Lee Ranaldo CGDCGD Sonic Youth | C G D C G D C2 G2 D3 C3 G3 D4 | Lee's open-fifth CGDCGD voicing, a symmetrical low-high mirror. Creates an open, resonant drone character. |
| Joni Mitchell CGDGBD Joni Mitchell | C G D G B D C2 G2 D3 G3 B3 D4 | One of Joni's deep open voicings, requires naming her to distinguish from generic CGDGBD. |
| Nick Drake Open C (CGCFCE) Nick Drake | C G C F C E C2 G2 C3 F3 C4 E4 | Nick Drake's Pink Moon tuning, suspended, melancholic open sound. |
7-string 3
| Tuning | Notes, low to high | Notes on use |
|---|---|---|
| 7-String Standard (BEADGBE) | B E A D G B E B1 E2 A2 D3 G3 B3 E4 | Adds low B below standard six, modern metal default. |
| Drop A (7-String) | A E A D G B E A1 E2 A2 D3 G3 B3 E4 | Low B dropped to A on a seven-string. |
| Eb Standard (7-String) | Bb Eb Ab Db Gb Bb Eb Bb1 Eb2 Ab2 Db3 Gb3 Bb3 Eb4 | Seven-string standard tuned down a half step. |
8-string 2
| Tuning | Notes, low to high | Notes on use |
|---|---|---|
| 8-String Standard (F#BEADGBE) | F# B E A D G B E F#1 B1 E2 A2 D3 G3 B3 E4 | Adds F# below seven-string, extended-range metal. |
| Drop E (8-String) | E B E A D G B E E1 B1 E2 A2 D3 G3 B3 E4 | Low F# dropped to E, maximum range for djent riffs. |
Bass tunings
4-string 4
| Tuning | Notes, low to high | Notes on use |
|---|---|---|
| Bass Standard (EADG) | E A D G E1 A1 D2 G2 | Standard 4-string bass tuning - all fourths, one octave below the low four guitar strings. The universal reference for bass guitar. |
| Drop D Bass (DADG) | D A D G D1 A1 D2 G2 | Standard bass with the low E dropped to D - matches guitarists in Drop D and adds a low D1 (36.7 Hz) for heavier low end. |
| D Standard Bass (DGCF) | D G C F D1 G1 C2 F2 | All four strings a whole step below standard - keeps fourths intervals so every fingering shape carries over. Pairs with guitars in D standard or Drop C. |
| BEAD (4-String) | B E A D B0 E1 A1 D2 | The low four strings of a 5-string set on a 4-string bass - drops the G string entirely for a low B0 (30.9 Hz). Requires a 5-string set minus the G, and usually nut work. |
5-string 2
| Tuning | Notes, low to high | Notes on use |
|---|---|---|
| 5-String Standard (BEADG) | B E A D G B0 E1 A1 D2 G2 | Standard 5-string bass - adds a low B0 (30.9 Hz) below the standard EADG set. The default for modern gospel, metal, and session work. |
| 5-String High C (EADGC) | E A D G C E1 A1 D2 G2 C3 | 5-string bass strung with a high C instead of a low B - extends the melodic range upward for chordal and solo playing. Common in jazz and fusion. |
Lap steel tunings
6-string 12
| Tuning | Notes, low to high | Notes on use |
|---|---|---|
| C6 lap steel (CEGACE) | C E G A C E C3 E3 G3 A3 C4 E4 | The standard 6-string lap steel tuning, C6 chord family. |
| E major lap steel | E B E G# B E E2 B2 E3 G#3 B3 E4 | Open E on lap steel: E B E G# B E in the standard register, per the Ely and Dafoe charts. Blues and country steel. |
| G major lap steel (GBDGBD) | G B D G B D G2 B2 D3 G3 B3 D4 | The Dobro and resonator standard: G B D G B D (G2 to D4). Bluegrass and country slide territory. |
| A6 (C#EF#AC#E) | C# E F# A C# E C#3 E3 F#3 A3 C#4 E4 | The basic 6-string A6th from the Ely and Dafoe charts: C# E F# A C# E. Sweeter and darker than C6; a classic Hawaiian and western swing voice. |
| E13 (6-String Basic) | D E G# B C# E D3 E3 G#3 B3 C#4 E4 | The basic 6-string E13th per Ely's master list: D E G# B C# E. The b7 (D) on the bottom opens bluesy, honky-tonk color with no bar slants. |
| A Major Low Bass (EAEAC#E) | E A E A C# E E2 A2 E3 A3 C#4 E4 | Open A major, low bass: E A E A C# E (E2 to E4), per Ely's master list. One of the earliest documented Hawaiian steel tunings. |
| Open D (DADF#AD) | D A D F# A D D2 A2 D3 F#3 A3 D4 | D major on lap steel: D A D F# A D (D2 to D4), one step below open E. Darker and lower tension; expressive for blues. |
| E7 (6-String Standard) | B D E G# B E B2 D3 E3 G#3 B3 E4 | The common 6-string E7th: B D E G# B E. The Mel Bay method standard and a frequent first step beyond open E. |
| E7 Sacred Steel (6-String) | E E G# B D E E2 E3 G#3 B3 D4 E4 | The sacred steel E7th on six strings: E E G# B D E with a doubled low root. From the House of God steel tradition, per the Dafoe database. |
| C6/A7 (Jerry Byrd 6-String) Jerry Byrd | C# E G A C E C#3 E3 G3 A3 C4 E4 | Jerry Byrd's combination tuning on six strings: C6 with the low C raised to C#, putting an A7 chord under the C6 grips. Per John Ely's master list. |
| C#m7 (Sol Hoopii) Sol Hoopii | B D E G# C# E B2 D3 E3 G#3 C#4 E4 | Sol Hoopii's C# minor 7th, the tuning of his later recordings and a cornerstone of Hawaiian steel. Low to high: B D E G# C# E. |
| F#9 (Dick McIntire) Dick McIntire | F# A# E G# C# E F#2 A#2 E3 G#3 C#4 E4 | Dick McIntire's F#9th: F# A# E G# C# E. A lush Hawaiian ninth voicing listed in both the Ely and Dafoe references. |
7-string 7
| Tuning | Notes, low to high | Notes on use |
|---|---|---|
| C6 (7-String) | A C E G A C E A2 C3 E3 G3 A3 C4 E4 | The standard 7-string C6: A C E G A C E, the 8-string standard without its top G. |
| A6 (7-String) | A C# E F# A C# E A2 C#3 E3 F#3 A3 C#4 E4 | The common 7-string A6th: A C# E F# A C# E, McAuliffe's 8-string voicing without the low F#. |
| C13 (7-String) | Bb C E G A C E Bb2 C3 E3 G3 A3 C4 E4 | 7-string C13th: Bb C E G A C E. The Bb below the root adds the dominant color to standard C6 grips. |
| G6 (7-String) | G B D E G B D G2 B2 D3 E3 G3 B3 D4 | 7-string G6th: G B D E G B D. C6 intervals moved to the key of G. |
| C6/A7 (Jerry Byrd 7-String) Jerry Byrd | A C# E G A C E A2 C#3 E3 G3 A3 C4 E4 | Jerry Byrd's signature 7-string combination: A C# E G A C E. The C# under the C6 stack gives A7 on the low strings and C6 on top, his lifelong workhorse. |
| C Diatonic (Jerry Byrd) Jerry Byrd | E F G A B C E E3 F3 G3 A3 B3 C4 E4 | Jerry Byrd's C diatonic: E F G A B C E, a stepwise scale across the strings for harp-like runs impossible in chord tunings. |
| B11 (Jerry Byrd 7-String) Jerry Byrd | B C# D# F# A C# E B2 C#3 D#3 F#3 A3 C#4 E4 | Jerry Byrd's 7-string B11th: B C# D# F# A C# E, per John Ely's master list. The C# next to the low B adds the 9th right at the bottom of the voicing. |
8-string 21
| Tuning | Notes, low to high | Notes on use |
|---|---|---|
| C6 (8-String Standard) | A C E G A C E G A2 C3 E3 G3 A3 C4 E4 G4 | The standard 8-string C6: A C E G A C E G (A2 to G4), per John Ely's tuning chart. The 6th (A) sits both below the root and on top of each octave; every string belongs to C major 6. |
| C6 Low (8-String, 3rd on top) | G A C E G A C E G2 A2 C3 E3 G3 A3 C4 E4 | C6 tuning with the major 3rd (E) on the highest string. Low to high: G A C E G A C E. The low G2 gives a rich bass on the fifth degree; all strings belong to the C major 6 chord (C E G A). Documented with a specific frypan gauge set (.014–.046). ‘Low’ refers to octave placement vs C6 high variants. |
| C13 (8-String) | G Bb C E G A C E G2 Bb2 C3 E3 G3 A3 C4 E4 | C dominant 13th, same as C6 Low except the low A is raised to Bb (the b7). Low to high: G Bb C E G A C E. Gives dominant 7th, 9th, and 13th colors with minimal bar movement. Drop Bb to A to return to C6 Low. |
| A6 Low E (8-String) | E A C# E F# A C# E E2 A2 C#3 E3 F#3 A3 C#4 E4 | The Low E variant of the 8-string A6th: E A C# E F# A C# E. Swaps McAuliffe's low F# for a deep 5th (E2) under the root. A High 6th variant also exists, running A C# E F# up to a top F#4. |
| E6 (8-String, from E13) | A C# E G# B C# E G# A2 C#3 E3 G#3 B3 C#4 E4 G#4 | E major 6 from E13: lower B→A and D→C#. All strings spell E6 (E G# B C#). Only two strings change from E13, so it pairs naturally with that setup. |
| E13 (Western Swing) | E B D F# G# B C# E E2 B2 D3 F#3 G#3 B3 C#4 E4 | The western swing E13th from Ely's master list: E B D F# G# B C# E, a fifth-heavy bottom under the 13th stack. |
| E7 (8-String) | E G# B D E G# B E E2 G#2 B2 D3 E3 G#3 B3 E4 | The basic 8-string E7th: E G# B D E G# B E, a full dominant seventh stack. |
| E9 (8-String) | E G# B D F# G# B E E2 G#2 B2 D3 F#3 G#3 B3 E4 | The basic 8-string E9th: E G# B D F# G# B E. A lap steel ninth tuning, distinct from the pedal steel E9 copedent. |
| G6 (8-String) | G B D E G B D E G2 B2 D3 E3 G3 B3 D4 E4 | 8-string G6th: G B D E G B D E. C6 intervals in G with the 6th on top. |
| B6 (Western Swing) | G# B D# F# G# B D# F# G#2 B2 D#3 F#3 G#3 B3 D#4 F#4 | The western swing B6th: G# B D# F# G# B D# F#. The same shape as the pedal steel universal's B6 side, on a straight lap steel. |
| Bb6 (Western Swing) | G Bb D F G Bb D F G2 Bb2 D3 F3 G3 Bb3 D4 F4 | The western swing Bb6th: G Bb D F G Bb D F, the horn-friendly flat-key cousin of B6. |
| A6 (8-String Leon McAuliffe) Leon McAuliffe | F# A C# E F# A C# E F#2 A2 C#3 E3 F#3 A3 C#4 E4 | Leon McAuliffe's A6th, the western swing standard. Low to high: F# A C# E F# A C# E, spelling A major 6 (A C# E F#). The same gauge set as C6 Low retunes here directly (G to F#, C to C#). |
| E13 (8-String Roy Wiggins) Roy Wiggins | B D E G# B C# E G# B2 D3 E3 G#3 B3 C#4 E4 G#4 | Standard E13 eight-string lap steel (gauges .042-.011). Low to high: B D E G# B C# E G#. The D (b7) on string 7 opens dominant 7th and 13th sounds. Credited to Ralph Kolsiana in John Ely's tuning chart and best known as Roy Wiggins' E13th; a Don Helms-era honky-tonk staple. Retune low D to C# and low B to A for E6 on all eight. |
| B11 (8-String Don Helms) Don Helms | F# A B D# F# A C# E F#2 A2 B2 D#3 F#3 A3 C#4 E4 | Don Helms' B11th eight-string tuning. Low to high: F# A B D# F# A C# E - all tones of the B11 chord (B D# F# A C# E). Lush, floating Hawaiian harmony. Jules Ah See's variant instead runs B F# B D# F# A C# E with a deep B on the bottom. |
| E9 (Jerry Byrd 8-String) Jerry Byrd | E B D E F# G# B E E2 B2 D3 E3 F#3 G#3 B3 E4 | Jerry Byrd's E9th on eight strings: E B D E F# G# B E. A lap steel ninth voicing, unrelated to the pedal steel E9 copedent. |
| C6/A7 (Jerry Byrd 8-String) Jerry Byrd | A C C# E G A C E A2 C3 C#3 E3 G3 A3 C4 E4 | Jerry Byrd's combination tuning on eight strings: A C C# E G A C E. Both the natural C (for C6) and C# (for A7) live in the voicing at once. |
| B11 (Jules Ah See) Jules Ah See | B F# B D# F# A C# E B1 F#2 B2 D#3 F#3 A3 C#4 E4 | Jules Ah See's B11th: B F# B D# F# A C# E, with a deep B1 on the bottom. The other canonical B11 alongside Don Helms' version. |
| E13 (Leon McAuliffe) Leon McAuliffe | E G# D F# G# B C# E E2 G#2 D3 F#3 G#3 B3 C#4 E4 | Leon McAuliffe's E13th: E G# D F# G# B C# E. The Bob Wills steel chair sound with the b7 tucked low in the stack. |
| E13 (Don Helms) Don Helms | E D E G# B C# E G# E2 D3 E3 G#3 B3 C#4 E4 G#4 | Don Helms' E13th: E D E G# B C# E G#, the high-G# voicing behind the classic Hank Williams steel sound. |
| C13 (Junior Brown) Junior Brown | Bb C E G A C E G Bb2 C3 E3 G3 A3 C4 E4 G4 | Junior Brown's C13th: Bb C E G A C E G. Standard 8-string C6 with the b7 (Bb) directly under the root, the guit-steel tuning. |
| E6 Sacred Steel (Darick Campbell) Darick Campbell | B E B E G B C# E B1 E2 B2 E3 G3 B3 C#4 E4 | Darick Campbell's sacred steel E6: B E B E G B C# E, per the Dafoe database. The G natural against E gives the minor-tinged House of God gospel cry. |
10-string 1
| Tuning | Notes, low to high | Notes on use |
|---|---|---|
| C6/Fmaj9 (10-String) | C F A C E G A C E G C2 F2 A2 C3 E3 G3 A3 C4 E4 G4 | 10-string C6 extended downward with F2 and C2, spelling Fmaj9 across the full range. The non-pedal 10-string C6 in the Dafoe database. |
Pedal steel tunings
E9 3
| Tuning | Notes, low to high | Notes on use |
|---|---|---|
| E9 Pedal Steel (10-String Standard) | B D E F# G# B E G# D# F# B1 D2 E2 F#2 G#2 B2 E3 G#3 D#4 F#4 | Universal 10-string E9 pedal steel. Low to high: B D E F# G# B E G# D F#. Pedals 1 and 2 (raise 5 and 10 from G# to A, raise 3 from E to F#) are the core country sound. C6 colors appear in many ‘pockets’ without retuning: e.g. P1+P2 at fret 3 yields eight notes of the C6 scale; E→D# knee at fret 1 gives seven C6 scale tones; split P1 supports 9th voicings matching C6 pedals. The b7 knee (B→Bb on strings 2 and 9) adds C6 maj7 and min7 options. |
| E9 Universal (12-String EM9) | B E G# B E F# G# B E G# D# F# B0 E1 G#1 B1 E2 F#2 G#2 B2 E3 G#3 D#4 F#4 | The 12-string E9 universal as listed in the Papa Dafoe database: B E G# B E F# G# B E G# D# F#, an E major 9 stack with no D string and a deep B0 on the bottom. The b7 comes from levers rather than an open string. |
| E9/B6 Universal (12-String Newman) Jeff Newman | E G# B D E F# G# B E G# D# F# E1 G#1 B1 D2 E2 F#2 G#2 B2 E3 G#3 D#4 F#4 | The Newman-style 12-string universal: the full E9 neck, D string included, extended with low G#1 and E1. A lever turns E9 into B6 (the C6 neck's vocabulary down a half step), so one neck covers both sides of a double-neck. Jeff Newman and MSA lineage. |
C6 1
| Tuning | Notes, low to high | Notes on use |
|---|---|---|
| C6 Pedal Steel (10-String Standard) Curly Chalker | C F A C E G A C E G C2 F2 A2 C3 E3 G3 A3 C4 E4 G4 | Standard 10-string C6 on a double-neck pedal steel. Low to high: C F A C E G A C E G. The low F2 (IV) is not in the C6 triad but anchors F major bass; strings 3–10 spell C6 across two octaves. Western swing hallmark, players like Curly Chalker. |
Artist tunings
Players are how people actually search for steel tunings, so they are cross-referenced here. Each name links back to the tuning above.
Curly Chalker
Darick Campbell
Dick McIntire
Don Helms
Jeff Newman
Jerry Byrd
Joni Mitchell
Jules Ah See
Junior Brown
Leon McAuliffe
Nick Drake
Roy Wiggins
Sol Hoopii
Sonic Youth
- Sonic Youth: F# cluster standard
- Sonic Youth: G G D D D# D#
- Sonic Youth: E G D G E D
- Sonic Youth: F# F# G G A A
- Sonic Youth: open E spread
- Sonic Youth: CGDGBB
- Sonic Youth: CGDGCD
- Sonic Youth: doubled low D open D
- Sonic Youth: D D# A# D# G G
- Sonic Youth: A C C G G# C
- Sonic Youth: G major scale fragment
- Sonic Youth: Lee Ranaldo CGDCGD
Where these came from
The steel tunings on this page were validated against John Ely's tunings master list and the Papa Dafoe database, the two standard references in the steel guitar community. Errors are mine. Corrections welcome.
Note names are given low string to high, in scientific pitch notation, with frequencies calculated at A4 = 440 Hz. Where a tuning is associated with a player, that attribution is carried from the reference lists rather than invented here. Pedal and lever changes on pedal steel are described in prose rather than as a copedent chart.
Using these in homecrate
All of these ship in the homecrate tuner, free, with no purchase required. Tap a tuning name to browse and apply it in one tap. The string buttons follow the instrument automatically: guitar 6, 7 and 8; bass 4 and 5; lap steel 6, 7, 8 and 10; pedal steel E9 and C6. Saving your own custom tunings is a Pro feature; everything listed on this page is not.