A fresh look at choosing string gauges: real and perceived tension [LONG THREAD]

[Chad]

Nearly every guitar forum has topics on string tension from time to time. Anytime this topic comes up, the primary focus always seems to be on calculating tension based on scale length, string gauge, and tuning. While those things are very important in determining how strings feel, PERCEIVED string tension is also extremely important...and often completely overlooked. In this thread, the focus will be on BOTH measurable and perceived tensions and how they relate to string feel.

Before diving in, I want to say that I am not anybody special. Just an average Joe guitar player who is very interested in this topic and has studied it for over 10 years.


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PLEASE NOTE: whenever an example is given, it is given with the qualifier that ALL ELSE IS CONSTANT.

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On to the discussion...

First of all, we'll look at measurable string tension. This will be a quick review because this information has been rehashed over and over in multiple threads on multiple forums.

Three (and only three) things affect measurable string tension:

1. String mass: Notice I didn't say string gauge. While gauge is a factor, what matters is the unit mass of a string because unit mass can vary greatly between different brands/models of strings of the same gauge. The higher the mass, the higher the tension. The lower the mass, the lower the tension. For example, flatwound strings will generally have higher tension than roundwound strings because the flatwound strings have higher unit mass. To further clarify, a .050" flatwound string will have more measurable tension than a .050" roundwound string.

2. Pitch: This is simple: the higher the pitch, the higher the measurable string tension. The lower the pitch, the lower the measurable string tension.

3. Vibrating length (scale length): The longer the vibrating length, the higher the measurable string tension for a given pitch. The shorter the vibrating length, the lower the measurable string tension for the given pitch.

Before moving on, I want to reiterate that NOTHING, I repeat NOTHING aside from those three things affect measurable string tension.

[Chad]

Now, with measurable tension out of the way, we'll get into the other extremely important and often overlooked factors in string feel: PERCEIVED tension.

Before we dive in, I want to mention that all of these things can greatly affect string feel, but they DO NOT affect measurable tension.

Also, please note that some of these factors interweave with each other.

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• String length outside of the scale length: The longer the string length outside of the scale length, the looser the strings will feel. The shorter the string length outside of the scale length, the tighter the strings will feel.
  
  One of the best examples I can give where this becomes a major factor is the traditional tremolo setup on a Fender Jazzmaster or Jaguar. It is designed such that there is a lot of string length between the bridge and the tremolo. This extra string length creates a looser feel that is significantly noticeable. To compensate for this looser feel, many Jazzmaster/Jaguar players run heavier string gauges. They also often add a shim to the body end of the neck pocket and/or use a "buzz stop" to change the break angle of the strings. That leads us into the next factor.
  
  
  
• Break angles: The more break angle a string has, the tighter it will feel. The less break angle, the looser it will feel.
  
  An example of this would be to look at the adjustable tailpiece on a guitar with a tune-o-matic bridge. The higher the tailpiece is set, the lesser the break angle and looser the strings will feel. The lower the tailpiece is set, the higher the break angle and the tighter the strings will feel. Many famous players take it a step further and run the strings over the top of the tailpiece rather than through it. Zakk Wylde is one player who comes to mind. When the strings are wrapped over the tailpiece, the break angle can almost be completely eliminated. This results in a much looser feel.
  
  Another break angle factor is neck angle. The primary function of neck angle is to affect and allow proper range of adjustment height of the bridge. But there is also a secondary factor that takes place with neck angle.
  
  Please note: Neck angle can easily be adjusted on bolt neck guitars, but with set-neck, neck-thru, etc. designs, there isn't a simple method of adjusting this. Considering neck angle can be adjusted on some guitars, it is really a matter of guitar setup and could have been included in the next section, but I felt the matter was better discussed in this section.
  
  Anyway, when a shim is placed at the body end of the neck pocket, the neck angle is changed and the secondary factor that takes place is the neck is tilted back in relation to the bridge, so the break angle of the entire neck in relation to the bridge is steepened. This has the effect of making the strings have a tighter feel. Back to Jazzmaster/Jaguars: when players put a shim in the body end of the neck pocket there is a twofold occurence: 1) they are tightening the break angle of the neck to the bridge AND 2) forcing the bridge height to be adjusted higher, which causes the break angle between the bridge and tremolo to increase.
  
  
  
• Guitar setup: As far as guitar setup, there are many factors that come into play, but we'll focus on two: string height and neck relief. Basically, at any position on the neck, the larger the distance between the bottom of a string and the top of a fret (i.e the higher the action), the tighter the feel. There is a tighter feel with higher action not only because it requires more energy to push a string down further, but also because pushing down a string causes the break angle between the nut and the top of the bridge to increase, so there will be a tighter feel when bending or otherwise manipulating a string.
  
  As far as relief, the more relief there is, the higher the action is at the middle of the fretboard, so all mentioned in the previous paragraph applies.
  
  
  
• Tremolo "give": A guitar with a tremolo will have a looser feel than a guitar with a fixed bridge. This is because whenever you move a string, the tremolo will rise and give way to the string, which results in a looser feel. The number and stiffness of tremolo springs will be a factor in how much this affects feel. A fixed bridge won't give way, so strings will have a tighter feel.

That is most likely not all inclusive of the factors that can affect perceived string tension, but I'll add more info if needed as the thread progresses.

[Chad]

Q&A:

Question 1: How do you go about choosing strings for a given guitar?

Answer: It is an act of trial and error trying to find a pleasing balance between feel (the combination of both measurable and perceived tension) and tone.

As far as feel is concerned, all of this discussion provides guidelines and understanding of the factors at play, but it is largely academic. I have mostly arrived at my string gauges through trial and error. Every guitar is different, so what works on one guitar may not on another. I try to find what gauges I like for the most part with a given tuning, then I use that as baseline starting point for other tunings and with other guitars.

I also like to use the Tension Calculator throughout the process. One area I find it to be extremely helpful is when changing tunings on a guitar. For example, if I know that I like "X" gauge strings on a guitar with standard tuning and I want to switch to a different tuning, then I play around with the calculator and try to find gauges for the new tuning that replicate the measured tension with standard tuning. But even then it comes down to trial and error along with personal preference due to perceived tension factors.

The other factor involved with choosing strings is tone. The thicker a string is, the thicker it will sound. For some pitches that is fine, but personally, when tuning to a low tuning like B standard, in most instances I don't like a gauge larger than .056" for the low B because of the tonal change. Anything thicker than that is more "woofy" than my ears like to hear. In general, I find that lower gauge wound strings provide a clarity that I prefer.


Question 2: What brand strings do you use?

Answer: I have tried tons of brands and models of strings over the years and for 90% of my guitars, I gravitate to boring ole' D'Addario EXL strings. I just like their overall tone, feel, etc. better than other strings. I also like how D'Addario is very open about the construction and specs of their strings, which makes the calculation side of things easier.


Question 3: What's all this talk about "feel" and strings feeling "looser" and "tighter"? Is there a way that can be measured?

Answer: As far as feel, I will provide a very simple test that you can perform to actually see with your eyes how change in feel is affected. First of all, grab a guitar that has a traditional nut. Or if you have a guitar with a locking nut, remove the nut pads. Now, go to any fret on the fretboard (middle of the scale length or around the 12th fret is generally the best place to do this because the effect is most noticeable there) and bend a note up one full step and make a visual note of how far you had to travel vertically on the fretboard to reach that pitch. Next place a capo at the first fret (or lock the nut down). Now perform the exact same test. What you will find is that without the capo in place, you have to cover more vertical distance to achieve the same pitch, but the string has a looser feel. The opposite holds true when a capo is in place. When you bend the note, you won't have to travel as far to reach the pitch, but it will require more pressure and the string will have a tighter feel. Why did this happen? Because placing a capo (or locking the nut) essentially changes the string length outside of the scale length. In other words it effectively "cut off" the string length behind the capo. Without the capo in place the full length of string between the nut and the tuning machine becomes a factor. This same phenomenon happens when you increase the break angle and so forth.

As far as whether it can be measured, perceived string tension is a matter of "compliance". That is to say that the more compliant a string is, the looser it feels. From what I have read, I don't think this can be measured in the sense of standard measurable tension, but I am eager to hear further discussion in this area.


Question 4: A longer scale length has a longer string length INSIDE the scale length, which makes the strings more compliant to movement. That is to say since the string is longer, shouldn't it have a looser feel?

Answer: Yes, the string is more compliant, but don't forget that in terms of measurable tension a longer string inside the scale length has to be drawn tighter to reach a given pitch. Effectively, two factors are at play: tension and compliance (a fancy way of saying perceived tension), and when talking about scale length the vibrating length factor overrides the compliance factor. I.e. the string has more tension than compliance.


Question 5: What about reverse headstocks compared to normal headstocks?

Answer: Reverse headstocks aren't just about looks! With a normal headstock, the string length between nut and tuning machine on the low E string is shorter. On the high E string, the distance between the nut and the tuner is longer. As we learned earlier, a longer string length outside the scale length contributes to a looser feel. Therefore the low E string on a reverse headstock will have a looser feel than the low E on a standard headstock. The difference in feel can be drastic enough that you might want to consider going with a higher mass string on the low E of a reverse headstock guitar. The G & D strings will be quite similar on both headstock styles because the string length doesn't vary by much.

As a side note, I DO NOT like reverse headstocks for the reasons stated. I generally prefer a heavier string feel on the lower strings and a looser string feel on the high strings. A normal 6 inline headstock provides this simply as a byproduct of string length outside the scale length. Also, I generally prefer the tone of smaller strings. Heavy gauge strings can get "woofy" sounding in my opinion. So I'd rather use a lighter gauge string and let the short nut-to-tuner distance add in some extra perceived tension. Also, I don't like the looks of reverse headstocks as well as standard headstocks.


Question 6: What about 6 inline headstocks vs. 3+3 headstocks? Or other headstock configurations?

Answer: See question 5. The same string length outside of the scale length principle applies.


Question 7: What about locking nuts?

Answer: Locking nuts are interesting because, as mentioned earlier, they essentially "cut off" the string length behind the nut. It could be argued that a double locking setup provides the most balanced string-to-string perceived tension because break angles and string length outside of the vibrating length don't come into play. For this reason, the commonly discussed "even tensioned" string set makes the most sense with a double locking setup. But don't forget the factor of tremolo "give" that was discussed earlier.

I should note that a double locking fixed bridge would be the ultimate test bed for "even tension" strings, however, I've never owned such a guitar. And I don't care for even tensioned strings, so it wouldn't matter anyway.


Question 8: So are you saying that "even tensioned", "progressive tension", etc. string set ideologies are flawed?

Answer: Absolutely. That is really a big point of creating this whole thread. You can calculate measured tension until your heart is content and arrive at what is seemingly the perfect set, but when you actually put the strings on a guitar and all of the perceived tension factors come into play, it can negate the measurable tension.


Question 9: What about angled headstocks (Gibson style) vs straight headstocks (Fender style)?

Answer: The factor involved is break angles. A guitar with an angled headstock will have a tighter feel than a guitar with a straight headstock. Again, a locking nut would negate this change in feel once the nut is locked down.

I should note that in a couple recent issues of Guitar World, Erik Kirkland mentioned in some guitar reviews that tested guitars had high string tension and would have benefited from less tension if they had an angled headstock. That is incorrect because neck angle is a perceived tension factor and won't affect measurable string tension. On top of that, he is wrong again because an angled headstock would actually make a guitar have a tighter feel, not a looser feel. I wrote to Guitar World about this matter, but never heard back.


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Anyway, that is all for now. If anybody had the patience to read this entire write-up...thanks! If you have any questions, please let me know. I don't pretend to know it all and welcome comments, criticism, and discussion. Also, this thread probably has some typos and I will edit as needed.

[Grandturk]

Did I read this somewhere else already?

[Chad]

Possibly. I have posted it on a couple other forums. This is the most current and up to date version.

[wanthairspray]

There's a very similar posting where some guy rubbishes claims of the bass strings feeling looser on reverse headstocks, and treble tighter, especially ones with locknuts. I think I read it on Harmony Central. In my opinion it was a terribly misleading article and I hope it went away. The rhythm guitar player in my band was using some examples off it to try and convince me that tension is constant and therefore all guitars feel the same. Doofus.

[Chief_CrazyTalk]

Cool post, thanks.

[Chad]

There's a very similar posting where some guy rubbishes claims of the bass strings feeling looser on reverse headstocks, and treble tighter, especially ones with locknuts. I think I read it on Harmony Central. In my opinion it was a terribly misleading article and I hope it went away. The rhythm guitar player in my band was using some examples off it to try and convince me that tension is constant and therefore all guitars feel the same. Doofus.

I'd be interested in seeing that article if you have a link.

[Dreamland_Rebel]

This might fit into "string mass" but the core wire shape for the wound strings makes a huge difference in tension. Round core wire strings have less tension than hex shaped and star shaped core wires.

[Chad]

This might fit into "string mass" but the core wire shape for the wound strings makes a huge difference in tension. Round core wire strings have less tension than hex shaped and star shaped core wires.

Without actually taking measurements, I can only speculate, but I'd guess hex and star cores are thicker than round cores. Which would mean more mass. If you have some hex and star core strings, it's pretty simple to measure. Just unwind the wrap, then check the diameter of the core with dial calipers. Then compare that to the core measurement of the round core strings of the same gauge.

Or better yet ask the vendor if they publish the unit mass of their strings. But a lot don't do that. Not sure why.

[moku]

man, my eyes are sleepy... nonetheless, it's useful. thanks for sharing, dude.

[WannabeNnyc]

Awesome info - thanks! A grand piano has a longer string on the bottom, not for tension then, but for tone?

(are you also in the car stereo forums, btw?)

[soulquake]

First of all check your neck relief, it makes a dramatic difference in the feel of the tension. I would normally try to get zero buzz, but with a lot of trial and error I have settled for maximum ease of play, wich is a pretty straight neck (just slight relief), low action, 10-46 strings and consecuently some fret buzz (if someone has a tip how to make this compromize a no compromize I will be more than happy). I think 10-46 is pretty much ideal for rock/metal, even in low downtune. Maybe a 52 on the low E if you play tight metal rythm in low detuning...

Also, I find the Fender/Charvel pointy comparison interesting (headstock angle). It's true that the Fender headstock would make for a looser feel, but then the Fender tremblock is drilled deeper so that the total string length is shorter than on a vintage Charvel trem, making the Fender feel much stiffer than the Charvel (same scalelength). The benefit of the Fender tremblock is that it makes tuning stability a bit better as there is less string moving across the trem plate. One thing to do to make vintage trems more stable is to put thin plastic tubes that are lubricated on the inside down the tremblock, but up through the tremplate. That way the string will have much less friction across the tremplate. Read that in an interview with SRV:s old tech. It works, but the tubes need to be changed often.

It was a long time since I had a guitar with floyd, but one thing to do is to put more springs in but have them as loose as possible. That way the trem will have a bit more give than if you have fewer prings with high tension. You will have to experiment with different springs and tensions to get it the way you like it, but I think the feeling when you bend is more important than the feel of the trembar. Just my humble opinion...

Also, if you're thinking about a custom order with a Tune-O-Matic string-through, the above discussion can serve to make the decision on were to put the stringholes in the body easier...further back to the edge of the body- loose feel, closer to the neck/bridge- tighter feel.

[MarkTheMuscleShark]

Pssshhh, all this talk about string tension, In the words of Frank Zappa, "Shut up 'n play yer guitar"

[soulquake]

MarkTheMuscleShark: Don't think I don't play my guitar...I actually play so much/hard my fingertips are bleeding. I'm tellin ya. That's when this shit matters...

I'll give ya all a little story from just the other day, see what ya make out of it...

I have busted my vintage NOS trem arm on my Charvel. (told ya I play...). Had to bring her to a doctor to see what he thought...he had no time to fix it before next weekend, and that's when I'll fly to Iceland to work in a studio for a month. So, pacing through town by feet I went by a music store and picked up a micro marshall to bring with me abroad. I'm planning to have a night in the wilderness of Iceland and play to the demons...

Went home, but was tired from carrying the case so I sat down in a park a mile or so from home. Picked up my guitar, plugged it in and played a few blues licks. My playing attracted three hustler type guys, two older and one in the thirties. They asked if they could sit down and listen. Sure thing I said...I was handed a beer and some smoke. Good times!

Request from one of the oldies: Play "I believe I can fly" by R Kelly...and M, the younger Guy will join you on vocals. Sure thing, we did it and I see teers building up in the older guys eyes. M sings amazing...

M tells me he has just lost his father and that the funeral was just a couple of weeks back. He tells me who his father was- a known local MC president. He was killed...and I recall hearing some rumor about who did It, and I tell M this. This is the point when good times turns into bad times, cause the three of them wants to know what I know, that what I'm saying is ALL I know. I try to keep cool and explain. BAM, I get a heavy blow from behind. Hey...take it easy now bro I say...M looks me deep in the eyes to see if I'm hiding something. Tells me he has just started to get over the worst grief and now all that is an open wound again. Says he wants me to understand what happens if you try to play the game. Says all is cool, he can see I'm a good guy. Nothing will happen to me. BAM and BAM. Blow in my head and a low kick on my upper leg, again from behind. I'm too focused on M to be aware of what's happening behind me. Still standing though, and I'm just cool, afraid though I am.

We end up doing another round of R Kelly for a bunch of teenage girls sitting on a blanket in the sun. Good times again...

As it happens I am friends with a really serious hustler, also MC guy. Think of the most dangerous fucker in a couple of shoes and you have this guy. Actually, here he is...link use google translate if you care to read...

He has done time, and It's been a seriuos while since we met. I call him up to tell him about my incident. No worrys, come down to my new place, bring your guitar. Sure thing... a couple of hours later I knock on his door. Big hugs offcourse. "Get your guitar and come down to my neighbour, he is a master guitar tech". We go there and I have my guitar set up in what has to be concidered the best setup I have EVER experienced. Take it to my friends house and play along to his records all night. We crash 6 am...

When I come home I login to a mail account I rarely use...newest mail in the list is from my friend, posted at the same time I was in the park playing blues and R&B the day before: "WHERE ARE YOU BRO, I'M WORRIED. I WANT YOU TO COME DOWN TO MY PLACE AND HAVE A GOOD TIME!"

What I'm saying is this...Captain Beefheart, in one of his Ten Commandments of guitarplaying, said that electric guitars attract belsebub, and that you should avoid playing in open fields. Depending how you look at it, this can be a good or a bad thing. I had a good night with my friend and a killer setup on my guitar...good times!

Only problem is my fingers are as sore as hell...