Nine different acoustic guitar tunings are used across The End of Control albums.

As shown below, while a number of them use a standard western guitar tuning, none are in the usual, E standard.

Experimentation begins with the most tightly tuned string, working backwards from there to the slackest string. At that point, the musical key is of secondary concern. Instead, what the instrument can handle without risking damage, the sound response, and the playability/feel are the main priorities.

Strumming a couple of strings together, the pitch of each string in raised or lowered, aiming for harmony. Where the tuning has potential but various strings feel too tight or too loose, the pitch (and consequently, tension) of all strings is transposed higher or lower to balance sonics with playability. 

A desired tuning is reached when the instrument responds well, feels immediately intuitive to play, suits mood, doesn’t feature too often on other accompanying tracks, and above all, brings inspiration.

Mesa Tona favours tunings that couple octaves of a note, or doubling up the same note between adjacent strings. It’s possible to somewhat emulate a 12-string guitar or exotic instrument sound while adding a natural chorus effect that can often be heard in Indian and Middle Eastern music. These open tunings, using one or more drone strings, provide a way to fill out the sound, while potentially allowing unusual chords to be played using relatively simple finger positions.

The personality of the guitar is transformed, allowing it to partially mimic the voicings of another instrument, that better serves a given song. While it takes some getting used to, the reward is a stream of fresh sonic consciousness. Within that new universe, the guitar reveals how it wants to be played.