There's More Than One Way To String An Axe - Les Paul Edition

Modern Saint

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For some reason I was curious and decided to look into it. I have done both method of tailpiece restringing and found that I like the wrap around more.

Guitar starts with the string. Woods are important; so is the neck profile, the fretboard radius, the neck joint, the fret finishing and the electronics. But none of that would mean anything without a well-crafted string. The player interacts with the string via their pick and fretting hand, then the string interacts with the pickup by disturbing its magnetic field, and then after the sound has worked its way through an amplifier and speaker, that same energy pushes the string to greater heights of sustain. Here are a few tips to get the most out of your strings, especially if you use a Les Paul-style guitar.

Regular Tailpiece Stringing
Most Les Pauls leave the factory with their strings passing through the tailpiece from the back, as the system was originally designed. This is a nice low-maintenance method that ensures good transfer of energy from the string to the tailpiece and into the body.


string_regular-tailpiece.jpg


If you wish to keep your guitar strung this way, the only thing to really be mindful of is to ensure a straight path for the string to travel between the bridge saddle and tailpiece. If the string touches the edge of the bridge itself after passing over the saddle, simply raise the tailpiece just enough for the string's path to be straightened out. Some players prefer to set the tailpiece as high as they possibly can without the string popping out of the saddle. Depending on how high or low you set your tailpiece you may perceive a change in string tension too: some players feel that a higher tailpiece provides a slightly 'looser' playing feel. Feel free to experiment with the height on each side of the tailpiece. A popular method is to have the bass side set lower for a tighter feel on the low strings.

Top Wrapping
There's another way to string a Les Paul tailpiece, and it's a method that ZZ Top's Billy Gibbons is so fond of that theGibson Custom Billy Gibbons "Pearly Gates" Les Paul Standard arrives with this feature right out of the box: top wrapping. This is when the strings are passed through the tailpiece from the pickup side, rather than from the rear strap button side. The strings are then curved back over the tailpiece and passed over the bridge saddles in the usual way.


string_top-wrap.jpg


There are two main reasons some players prefer this method. For starters, it provides a shallower break angle over the bridge saddle, since the strings pass from the top of the bridge instead of halfway through it, and many players report that their strings feel slinkier as a result. Secondly (and perhaps most importantly for most guitarists) this allows you to screw the tailpiece all the way down against the body, which many players feel gives the guitar more sustain and fullness. Zakk Wylde is another famous top-wrapper.

Tuning Pegs
Here's a method that improves tuning stability for most players (unless your guitar has locking tuners like those found on the 2012 Gibson USA Les Paul Standard). It's the way most guitars arrive from factories, but many players don't maintain it during the first restringing. Here's what it looks like:


string_tuners.jpg


First, make sure the first winding of the new string around the tuner post goes over the exposed tip of the new string. The rest of the winding should then go under the exposed tip of the string. When you tune the string to pitch, the pressure between the first 'over the top wrap' and the lower wraps keeps the exposed string tip clamped firmly and prevents it from slipping around the tuner post. This will benefit your tuning stability throughout the life of the string, but the advantage is particularly evident immediately after stringing (Gibson recommends at least five turns around the post for unwound strings, and two or three for wound strings). It's typical and recommended to stretch each string immediately after installing it, and you'll find that the string settles into its intended pitch much sooner than if you simply feed all of the string through below the string tip without performing the lock trick.

http://www.gibson.com/News-Lifestyl...ere-s-More-Than-One-Way-To-String-An-Axe.aspx
 
You'd think it may allow the string to slide back and forth across the saddles more easily. There may be difference in sound too, however slight.
 
I never have tried the over wrapping, but I'm curious if it does provide a slinkier feel.
 
I've tried both, and while I didn't notice any difference in sound, there's a noticeable difference in feel as you can rest your palm on the strings between the bridge and the tailpiece, which I think is very nice.
 
I think that the difference in feel makes a lot of sense.
The break over the saddles will have an effect on the tension.

As for the sustain, I think it's bunk. The string shouldn't be vibrating that much between the bridge and the tailpiece.
If it is, it's vibrating at a fixed frequency because the string length does not change over that part.

I actually noticed this on my Ibanez Artcore. I had just stopped strumming and I could hear a higher pitched bunch of notes ringing out. I strummed the strings between the saddles and the Bigsby and it was exactly the same sound.
I did a little bit of testing and found that no matter what I fretted on the neck, that higher pitch bunch of notes stayed the same.
So, not a good thing. I think I have to patent the idea of a mute for that part of the strings.

So, while they do vibrate, they are not adding sustain to the tone that you are playing.

I've only heard this with the Bigsby guitar which has a slighter break angle over the saddles. I've never heard it with anything else, but I'm going to pay attention to it from now on.
 
I've always liked the overwrap method... but I also like my bridge hardware closer to the guitar face. I really hate that suspension bridge a foot off the guitar face feel. :embarrassed:
 
I never have tried the over wrapping, but I'm curious if it does provide a slinkier feel.

It does really make a difference. Never really noticed it before until I read the article. My two LP's just felt easier to play meanwhile P-90 LP is tougher since went with through the bridge on that one. When it is time to restring, I will overlap. I have my SG going through the tailpiece and really do need the tension since I use it for slide only (tuned to open E).

Funny how I have been playing LP's since 2007 and never really noticed the difference until I read this article almost 9 years later.....
 
I'm gonna ask, since the string has to be the same tension breaking over the bridge and nut to achieve the correct tuning how can the string feel more loose/slinky?
 
I'm gonna ask, since the string has to be the same tension breaking over the bridge and nut to achieve the correct tuning how can the string feel more loose/slinky?

I don't know the rules of physics on this but there just seems to be less tension for some reason. I know on my Gibby's that I do have a steeper angle increasing the tension.

My best guess would be on the wrap around, you have more string play since it loops around and the string length is slightly longer. With direct, there is no forgiveness when bending a string with angle being the same.
 
I am 90% convinced that there is no difference - just the normal confirmation bias at work.

I will admit that it is *possible* that the strings *might* feel just a tiny bit easier to bend. Here's the logic:

On a regular strung tailpiece, the strings make a sharp break over the saddles. The friction from this sharp break prevents the strings from sliding over the saddles. The result is that when you are bending a string, you are stretching 24 3/4" of string (ignore the amount of string between the nut and tuners since this stays the same in both cases).

With over the top stringing, there is little break in the angle of the strings as they cross the saddles. This allows the string to slide on the saddle which means that you are stretching 26" or so of string. That *might* be perceptible. On the other hand, even though it might feel easier to bend, you'd need to bend slightly further to get the same amount of increase in string tension to get the same amount of pitch increase.

As far as tone, the height of the tailpiece doesn't make a difference. There is very little string vibration between the bridge and the tailpiece to start with, and the frictional losses of those two huge brass bolts are effectively zero, so you aren't losing any string energy. Anyone hearing a difference is succumbing to confirmation effect.
 
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I am 90% convinced that there is no difference - just the normal confirmation bias at work.

[...]

The height of the tailpiece doesn't make a difference.

Except to restore the sharper break angle, of course; if either effect is real you still can't have both.
 
Except to restore the sharper break angle, of course; if either effect is real you still can't have both.
I screwed up my editing in my first post. I've fixed it. I meant that the tailpiece height does not affect tone.
 
The bit at the tuners is something I think I've done forever on guitars with regular tuners, but not with locking tuners or if the guitar had a floyd with the locking nut.

The wrap around on the bridge seems logical from a the perspective the string angle and potential hand comfort of the player and/or "bolting" the stop bar to top of the guitar for the supposed better transfer of sound/resonance. However, the extra breaks (1. to go up and 2. back over the top of the bridge) would seeming increase the break-in period (therefore initial tuning stability) of a restring as well as possible compromising the structural integrity/life of the string. If either/both of these were accurate, but I perceived an improvement in sound, I'd be okay with going through a few extra strings.
 
I haven't owned a tune o matic/stop tail guitar in decades and when I did, it was gone in maybe 2 weeks. When I don't have locking tuners, that is how I string guitars around the tuning machines.
 
The difference in feel is slight, but noticeable. I also read something similar recently regarding a difference in feel on strats with and without string trees but I cannot comment on that as I haven't tried it on mine.
 
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