Not trying to ignite any religious wars here but as I contemplate my first stick (99% sure it'll be a 10-string Railboard), I'm thinking that matched reciprocal would be the easiest for me to learn (it took me long enough to learn the fretboard on a guitar/bass! ), while still being compatible with most of the learning materials. Also, it appears that the raised matched reciprocal is highly recommended for the Railboard, so I'm leaning in that direction.

Any comments/suggestions on this are appreciated.

After few years playing with standard/classic tuning I found myself with too much
“Hand collision”
So upon getting the railboard I decided to go with MR tuning which solved me this issue
Then I found out that compared to the 34” stick I used to play - I hardly get to touch the 2 lowest frets.
Following that (and Emmett recommendation) - I decided to go with RMR tuning
Which is my preferred tuning now.

Thanks @Boaz - nice to get that perspective. Something only apparent from literally "hands-on" experience.

I think you will find far fewer tuning zealots on here than you anticipate. LOL

I have an Ironwood Stick from the early 1980s that I know began its life as a classic tuned instrument because that was all there was at the time. By the time I got it there had already been a truss rod, adjustable bridge, and nut flaps added. It was then tuned to Baritone Melody.

At that time, that was recommended by many because that was the configuration of Greg's Stick Book Vol. 1. (That book is now available in multiple tunings.)

My newer instrument, the 10-string Tarara, came in Matched Reciprocal. I never really took to that but I gave it almost a year just to be sure. Even managed to play an entire wedding with that tuning. I can echo Boaz about hand collisions, but it really depends on what type of music you intend to play.

Then came the fun...

I changed that Tarara instrument to Dual Bass Reciprocal. As a bass player it gave me great flexibility in the running/walking bass lines but not really much else in the way of solo playing simply because there was not a lot of distinction between the melody and bass timbres.

I have since changed the same Tarara over to Baritone Melody and most recently Deep Baritone Melody. It feels like the Deep Baritone tuning really fits this instrument. I believe in the original article of Raised Matched Reciprocal there was some discussion about that tuning really fitting the Railboard.

It really is what you feel like doing with it. With Emmett's design of the modern instruments it is incredibly easy to change the tunings around. I was scared to death to change to DBR but after watching Greg's video on how to do it I actually enjoyed the process and the learning of that tuning.

This should prove to be a very interesting thread!
Enjoy the process,

MM

My experiences differ. I've used standard tuning for 37 years. 10 string and Grand. Never had hand collision issues because I can easily find same notes in alternate places. And certain techniques work better for reach with standard. I've taught players with many tuning variations. They all have pros and cons. I've been exploring breaking the imaginary wall that separates the melody from the bass, combining both sides with one hand.. Alas, I have never found a need , harmonically, melodically or otherwise to stray from standard.
My opinion and experience
Steve A

Emmett invented the Fucking Thing and has gone from His Original Tuning to the "Variatition That Suits The Instrument" He has always prefered a 10 string instrument so....go w/ whatever It (The Stick or Railboard) calls to you - you can always go any way you want - and it really doesn't matter in learning The Stick. It Really Doesn't Matter. The same techniques apply - look at the M.F.'s out there teaching and playing. Personally I've tried variations (and it's always 5ths in Bass) but it's what you want to do with the instrument and how much work you want to put in to it.

That's good. Coming onto a new forum, I'm always leery of stepping on the "landmines"



That's good to know. Coming from stringed/fretted instruments (guitar & bass) I'm incredibly "dependent" on the patterns in that grid to understand what I'm doing. After studying it for awhile, the tuning-in-fifths isn't anywhere near as "foreign" as I'd anticipated, but as with everything else, experience often dictates doing things differently as one learns and progresses.

Thank you, sir...

Thanks, @Steve & @Marty. I've gathered that tunings are in some cases better/worse depending on the style of music being played. I suffer the curse of being almost completely agnostic as to style. Easier to mention the types of music I don't listen to or aspire to play - bluegrass & country. Everything else, from classical to hip-hop is "fair game" in my book, though I kinda gravitate toward funk/gospel/motown/blues, popular (e.g. swing era) jazz and progressive rock (huge Tony Levin/King Crimson fan). Not much into any of the "classic rock" oeuvre other than The Beatles. I'm currently working out all four string quartet parts of Bach's Air from Orchestral Suite #3 (Air on the G String) on guitar, bass VI and bass.

Anyway, it seems that my tastes in music won't help me decide, so I'm falling back on which tuning will make it easiest to get comfortable with the Stick.

You are so welcome! Enjoy this time. It is great fun.

MM

It seems to me that choosing your initial tuning by what is 'easiest for learning' would be a mistake.
'Best for learning' and 'easiest for learning' are not the same.

It is more important to choose the tuning that interests and inspires you the most, and that does what appeals to you in terms of range, lowest pitch, highest pitch and string intervals (4ths or 5ths) on each side.

You can judge this based on your experience of bass guitar and guitar.
For example, think about how low you want to play, that will decide if you choose Bb, C or D (or other) as the lowest bass string.
Likewise for highest pitch, want the highest possible pitch? Choose D4 as top melody string.
And so on for range, intervals etc.

Even with wide musical tastes, you will still have preferences and interests.
Learning will progress better with the most inspiring and interesting tuning even if it is not the most 'technically easy'.

The most important parts of the learning materials (technique etc., 'how to play' not 'what to play') are tuning-independent.
Any tuning with 4ths melody and 5ths bass is compatible with the learning materials, so that means all the official tunings and many other possible transpositions of the melody and bass sides.