You’ve got to hand it to the guys and gals on Music Row. They know how to make records. They certainly know a thing or two about recording acoustic guitars. High-string tuning is so closely associated with the capital of country music that a majority of guitarists refer to it as Nashville tuning.
To reassure those of you who aren’t really down with endlessly retuning your instrument, Nashville tuning isn’t really an alternate tuning, per se; it’s more about the strings you actually put on your guitar. The tuning involves taking the four octave strings from a twelve-string (the E, A, D and G) and putting them on a regular six-string guitar. That gives you a guitar with only one wound string (the low E), and means the D and G strings will be higher in pitch than the B and E strings respectively, leaving you with a guitar that sounds jangly indeed. D’Addario and Martin both sell high-strung/Nashville tuning sets (10-27 and 10-25 respectively), and possibly other manufacturers do too*. All you need to do is maybe adjust the neck on your guitar. I have a spare acoustic I often Nasvhille-ise; saves a lot of hassle when, as now, I’m looking to add a few jangly touches to a nearly complete recording..
So what can you do with it?
I’m very fond of the massed – but unobtrusive – overdubbing of acoustic guitars. I love the tonal colours you get by blending tracks of different guitars, different tuned, and so routinely track two to four acoustic rhythm tracks of various types, with the aim of blending them together so it sounds essentially like one instrument, but with a richer sonority and wider frequency response than you get from a single track of one acoustic guitar.
Sometimes they’re all in standard tuning but I use a capo to play each track with different chord shapes (e.g. a song in E is played with open E shapes, and in D with a capo on the second fret, or C with a capo on the fourth). Sometimes it’s a mix of standard- and alternate-tuned performances. Sometimes it’s a mix of six- and 12-string guitars, and sometimes a Nashville-tuned part is in there, too. Adds a lovely shimmering brightness to a bed of acoustics.
But that’s just the easy stuff. If you don’t have access to a 12-string guitar but you want the effect on a recording, you can also try tightly doubling a six-string part in Nashville tuning to create an effect that’s very like a 12-string. Experiment with panning the parts left and right in stereo as well as together down the middle for different effects.
If you’re really into making work for yourself, try doubling a fingerpicking part. If done perfectly and panned down the middle, voila, instant 12-string effect. And again, you can pan the parts off on opposite sides for a striking stereo effect.
To hear examples of Nasvhille tuning used outside a country context, have a listen to Hips and Makers and Strange Angels, the first two solo albums by Throwing Muses/50 Foot Wave singer-guitarist Kristin Hersh. Examples of Nashville-tuning parts are numerous on Strange Angels; you’ll have to hunt harder for them on Hips and Makers but they’re there (on Velvet Days and Teeth, at least, I think). Or for something a bit more mainstream, try Landslide by Fleetwood Mac. There’s a high-pitched fingerpicked part panned centrally, fairly low in the mix but audible between Stevie Nicks’s vocal lines. I’ve gone back and forth on whether it’s a 12-string or a Nashville-tuned six string, but the more I hear it, the more the thin-ness and clarity of the part suggests Nashville tuning to me.
My old spare acoustic, Nashvillized
*When I bought a set of Martin 10-25s the other day, the dude in the shop told me he hasn’t been able to reorder them and thinks that Martin may have discontinued them. Nonetheless, you can still buy single strings of the appropriate gauge: to replicate the Martin set, you’d need the following gauges: E: 0.025; A: 0.017; D: 0.013; G: 0.008; B: 0.012; E: 0.010.