Baritone Guitar Tuner Online — B Standard

A baritone guitar in B standard is BEADF#B from the sixth string to the first: standard guitar tuning lowered a perfect fourth. The longer scale length and heavier strings are what let it reach B1 at 61.74 Hz while keeping a normal playing tension. Its top string is B3, not E4.

How to use it

1. Start the tuner. Press Start Tuner (Microphone) and allow access — the pitch analysis runs entirely in your browser.
2. Work from the sixth string to the first. Targets: B1 = 61.74 Hz, E2 = 82.41 Hz, A2 = 110.00 Hz, D3 = 146.83 Hz, F#3 = 185.00 Hz and B3 = 246.94 Hz.
3. If the guitar is already close to pitch, tune in two passes. Get all six strings roughly in tune, then fine-tune. The two low strings carry a lot of tension and pull the others as they move.
4. Bring each string up to pitch from below. If a string is sharp, lower it under the target and come back up, rather than stopping on the way down.
5. Mute the other strings while you tune each one. The baritone’s low strings are close in pitch to each other, so a ringing neighbour can dominate the reading.
6. Check the octave by ear. The only repeated note in the tuning is B: the first string is B3, two octaves above the sixth string’s B1. The sixth string’s 12th-fret harmonic is B2, the midpoint between them, so if the harmonic and the open first string sound like the same pitch class two octaves apart, the low B is in the right octave.
7. Re-check the set. Heavy low strings settle after they are fitted, and the strings you tuned first will drift as the neck settles.

Baritone string frequencies

Counted from the player’s side, the sixth string is the baritone’s low B and the first is the top B, a fourth below a standard guitar’s first string.

String	Note	Frequency (A4 = 440 Hz)
6th (lowest)	B1	61.74 Hz
5th	E2	82.41 Hz
4th	A2	110.00 Hz
3rd	D3	146.83 Hz
2nd	F#3	185.00 Hz
1st (highest)	B3	246.94 Hz

Scale length and tension

A baritone is not just a guitar tuned lower. The instrument is built around the tuning:

• The scale length is longer. Most standard guitars sit between roughly 24.75 and 25.5 inches; baritone guitars are commonly around 27 to 30 inches. The longer string vibrates at a lower pitch for the same tension, so it helps the instrument reach B1 without the strings feeling slack.
• The strings are heavier. Pitch falls as a string gets heavier for its length, and rises as tension rises. A standard six-string set tuned down a fourth loses so much tension that the strings rattle, bend out of tune and sound weak. Baritone sets use heavier gauges so the tuning sits at a normal playing tension.
• The two work together. A longer scale allows a lighter string for the same note and tension; heavier strings allow a shorter scale. A baritone uses some of both, which is why the instrument feels different from a standard guitar tuned down.
• The feel changes. Heavier strings and a longer scale make bending harder and spread the frets slightly further apart. Players usually adjust their touch rather than their technique.
• The setup follows the tuning. Nut slots, intonation and neck relief all need to suit the gauge and the tuning. A baritone set up for B standard will not play cleanly if it is restrung with a light set at standard pitch.

How a baritone differs from a 7-string and from a capo

• A 7-string adds a string; a baritone transposes the instrument. The 7-string keeps EADGBE on its top six strings and adds B1 below, so its highest note is still E4. The baritone has six strings tuned B1 to B3, a perfect fourth below standard, so its highest note is B3. The 7-string gives you the standard instrument plus a low extension; the baritone gives you a lower instrument.
• A capo at the fifth fret turns a baritone into a standard guitar. Raising every string a fourth moves B1 to E2 and B3 to E4, which is exactly EADGBE. Capoing does not change string tension, so it is safe; it is also why baritone players often keep one capo position as their “standard” setting.
• A capo on a standard guitar cannot create the low B. A capo only raises pitch, so the low B has to come from retuning or from an instrument built for it.
• A baritone is not a bass. A bass guitar and a Bass VI sound an octave below the guitar. A baritone stays in the guitar’s octave, a fourth lower than standard, which is why it sits between the guitar and the bass in a mix.

Accuracy and limits

• The low B is read on the decimated low-frequency path. For notes below 70 Hz a 33-tap Blackman-windowed sinc anti-aliasing filter decimates the analyser’s 4096-sample frame by 4x to 11.025 kHz, and the detector correlates the full 1024-sample decimated window (~92.9 ms). At B1 that window holds several full cycles of the string, so the window is no longer what limits the reading — the microphone and the string’s slow decay are, and those are true on any hardware.
• An octave jump is the weak-fundamental symptom. When the display leaps up to B2 or B3, the detector has locked onto a harmonic of a weak or decaying fundamental. Mute the other strings, re-pluck firmly, and confirm against the first string rather than trusting a single frame.
• Small microphones weaken below roughly 100 Hz. Laptop and phone microphones lose sensitivity at the bottom of their range, so the low B can arrive quiet even when the string sounds loud in the room. Pluck it firmly over the 12th fret and use the neck pickup on an electric.
• B repeats two octaves apart. The sixth string is B1 and the first is B3. If the first string rings, the display can report the higher B — the right note name, the wrong octave. Compare against the string cards when it matters.
• A capo rewrites every target. With a capo fitted, the strings sound a fourth above the pitches on the cards, so the strings you are matching are not the ones the preset names. Tune with the capo off, then fit it.
• New heavy strings settle slowly. A baritone’s low strings stretch for a while after they are fitted. Expect to retune several times over the first hour of playing.

Safety

• A standard six-string set will not hold B standard. The strings go slack, rattle and intonate poorly. If you want to tune a standard-scale guitar to B standard, fit a baritone set and have the nut and intonation set up for it.
• Do not tune a baritone strung for B standard up to E standard. The longer scale and heavier strings mean that tuning would put the instrument far above the tension it is set up for.
• Tune up to pitch in small increments. If a string is sharp, lower it below the target and bring it back up, checking the reading as you go.
• Never force a stiff peg. A string binding in the nut slot should be eased free. Forcing the peg is how strings and tuning posts break.
• Do not tune sharp to fix a rattle. If the low B feels loose or buzzes, the answer is a heavier gauge or a setup adjustment, not extra tension.
• Check the whole instrument after tuning. If a string will not hold pitch or the neck buzzes, the cause is usually the setup, not the tuning.