30-string Contra-Alto update, part 4

 

In the most recent update on this instrument, I discussed changes in the tuning to the alto side, which has this year transmogrified into the baritone side. Formerly, this instrument was named the Contra-Alto, as those were the registers in which this was tuned for many years.  

In the previous blog update, the Contra (18-string) side was in the sub-contra D register, and the 12-string side was in the A baritone register.  Both sides were in all-octave tunings.  

I've had it in those tunings since April 2025, and have used the 30 in several recording sessions in those tunings and registers.  I liked it very much, but after several months of those tunings in those registers, I wanted to try something different.

In the 13 years I've been playing this instrument, it's been through many tunings.  Those have been intervallic, fifths, fourths, unisons, and octaves.  Most of those tunings on the Contra side were based in contra E tuning, which is one octave below guitar concert E tuning.  

Today on the 18-string side, I shifted the third in the tuning, changing what was the sub-A course into the root course for the new sub-contra A tuning.  This is a significant registral shift from the previous E contra or D contra register.  Shifting the tuning in this manner also expands the number of super-treble courses from two to three.  When compared to the E contra register, the A sub-contra register is down a fifth.  Putting the 18-string side into the A sub-contra register also makes it a full octave lower than the 12-string side, which is in A baritone.

For now, I'm keeping the A sub-contra side courses in an all-octave tuning.  

Additionally, this morning I tuned the A baritone side from all octaves to a new all-intervallic tuning.  I've previously used intervallic tunings on this instrument and on the 12-string side of it, but those intervallic tunings were either for the top three or top four courses only; leaving the bass courses in octaves.  The new tuning creates intervallic tunings for all six courses, leaving no octave courses on the 12-string baritone side.

Ergo, this instrument is currently re-named Subcontra-Baritone, as that more accurately describes its current registers. 

I'm quite pleased with how it sounds and feels with these new registral shifts and new tunings.  The new 12-string baritone full intervallic tuning pairs beautifully with the new 18-string A sub-contra tuning.  This 30-string will be used on some upcoming recording sessions, and I look forward to how the new registers and tunings will change my thinking.

-kk