ShortScale.org

Flatwound 12's for me...



I'm definitely more a clang-er than a jangle-r

No wound, but the G is thick enough to withstand some horrendous abuse.
I'm terrified of tuning to E standard with these. Once you get to D it feels like the neck is about to separate itself from the body.
Thankfully I play in C, so no problems.

Bawbag wrote:I'm terrified of tuning to E standard with these.

pfft, man up and turn them pegs.

i might get some of those actually, the jazzblaster is getting the C standard treatment next time i restring it and i've never tried ernie ball strings.

Zaphod wrote:

Bawbag wrote:I'm terrified of tuning to E standard with these.

pfft, man up and turn them pegs.

i might get some of those actually, the jazzblaster is getting the C standard treatment next time i restring it and i've never tried ernie ball strings.

Seriously, when it gets past D each wind feels like it's going to be the neck's last.
Ernie Balls are generally balls. These sound horrible when you first string them up (for some reason playing the E and A give you weird piano sounds), but after a bit of grime they're amazing.
The 56 feels like a rope.

Those are utterly ridiculous.

I had to start tuning my 11-50 flats down a half step

My fingers have gotten all eaten up by frostbite - kinda sucks.

Bawbag wrote:

No wound, but the G is thick enough to withstand some horrendous abuse.
I'm terrified of tuning to E standard with these. Once you get to D it feels like the neck is about to separate itself from the body.
Thankfully I play in C, so no problems.

currently on my #1strat tuned to E
supermanlandtones

Duo is all over this thread droppin truewth. Fuck ya cunts that can't hang with a wound G. The initial attack is doesn't go sharp like a plain G does.

Mike wrote:Those are utterly ridiculous.

Well, no really considering back n teh day fenders shipped with 13s.

the_dude wrote:on a jaguar:
plain g string.

wound g string.

its just the adjustments on a jag ive never had to do it on my sg copy though

WTF? that makes no sense at all.....sorry. How can using a plain or wound string effect intonation to that degree? a big jump of gauge will have that effect but changing to a wound string will not.

Here's my Mustang

Mustang Melx wrote:WTF? that makes no sense at all.....sorry. How can using a plain or wound string effect intonation to that degree? a big jump of gauge will have that effect but changing to a wound string will not.

With a wound string only the thickness of the inner wire affects intonation, so going from a wound G with a tiny thin inner wire, to a plain G which is a thick wire, it is indeed "a big jump of gauge" as you say.
Nobody says you have to intonate any particular way but if you do it right, if the neck is straight and the truss rod is set up right, the wound strings end up staggered from thick to thin, and the plains are staggered from thick to thin. As you can see above, if you have 4 wounds the G saddle needs to be closest to the neck, but if it's plain, the thick G intonates further away from the neck.

i used to love the feel and sound of the wond g in the dean markley blue steal 11's.
i was using jazz gauge 13-60 flats on my j.s. tuned to standard, and then 14-65 or whatever on my tele tuned b-b
either way, a wound third feels good!

robert(original) wrote:i used to love the feel and sound of the wond g in the dean markley blue steal 11's.
i was using jazz gauge 13-60 flats on my j.s. tuned to standard, and then 14-65 or whatever on my tele tuned b-b
either way, a wound third feels good!

this is crazy talk. A 60?!?!?!...at E?!?!?!?!

yes!!!!!!!!!!! a 60!!!!!!!!!!!! on e!!!!??!?!?!?!

it's not that insane, just a bit of setup needed to stop the guitar going banana shaped when you tune up.

MatthewK wrote:

Mustang Melx wrote:WTF? that makes no sense at all.....sorry. How can using a plain or wound string effect intonation to that degree? a big jump of gauge will have that effect but changing to a wound string will not.

With a wound string only the thickness of the inner wire affects intonation, so going from a wound G with a tiny thin inner wire, to a plain G which is a thick wire, it is indeed "a big jump of gauge" as you say.
Nobody says you have to intonate any particular way but if you do it right, if the neck is straight and the truss rod is set up right, the wound strings end up staggered from thick to thin, and the plains are staggered from thick to thin. As you can see above, if you have 4 wounds the G saddle needs to be closest to the neck, but if it's plain, the thick G intonates further away from the neck.

mmm...I suppose I'd better go and check my intonation, because according to that mine should be way off as it is....it doesn't sound it though.

What are the advantages of using those outrageously thick strings? Just fuller sounding chords etc...?

Mustang Melx wrote:mmm...I suppose I'd better go and check my intonation, because according to that mine should be way off as it is....it doesn't sound it though.

Hey, if it sounds right, who cares where the saddles are? The G is hardest to get right anyway, there will always be a few oddities.

The more metal in the wound string should create more sound.