BLACK DIAMOND’S NEW BLACK COATED  ACOUSTIC GUITAR STRINGS

The name Black Diamond has been around a long time; in fact, I bought Black Diamond’s as my “new” strings when I was just learning guitar, as a teenager.  We didn’t have the Internet then, and stores that carried guitar strings didn’t give you a lot of choices.  But Black Diamond was always there, I was glad to find them still going strong.

Things have changed a lot since then, and so has Black Diamond.  Case in point, their N600 series Black Coated Phosphor Bronze Acoustic Guitar Strings. I recently gave them a try on a black Ovation 1778T Elite acoustic electric.  I chose this guitar for the evaluation because it has a broad dynamic range which can bring out the extreme highs and lows quite clearly and accurately, without imposing its own tonal limitations on the overall evaluation. I also found the black strings on a black guitar them had a novel attraction, and just plane looks cool.

I started with the N600LB 12-53 set first, and found them to be rather bright and somewhat tinny sounding.  They got a little more mellow on the second day, but after a week I was ready to go for the heavier N600MB 13-56 set.  The 13-56 medium gauge set was more to my liking, with a stronger and richer bass and fuller sounding trebles, not too bright or tinny at all.  All six strings in the set are black coated, including the two bare (non-wound) strings. The coating seems to be evenly applied and gives the strings a slick feeling which is very apparent when your installing them. They tuned up right away and stayed in tune.  They turned out to be an excellent set for acoustic electric applications, especially when you add delay and other effects.

Low Finger Noise: The coating helps hold down the low finger noise, which helps me when playing plugged in.

Tone: Because the coating tends to give them a slightly brighter tone, the bass strings are very clear, and never muddy sounding. This comes out very nicely when playing plugged in, especially with a delay effect added. The straight acoustic tone is full and rich, also.

Fun to Play: I found them to be very good for general strumming and cross picking.  I love them for tunes with complex chord changes, because these strings bring out the subtle changes so well and clearly, even after two months of hard playing. I played that 13-56 set hard and they continued to hold up. The black coating seems to keep them fresh sounding a very long time, and the only place I saw it wearing off was at the fret contact areas and right over the sound hole, where my pick hits the strings. But the wear was hardly noticeable unless you know where to look, and it didn’t affect the sound at all.  The fret wear is only evident when you take the strings off the guitar, and you can see the under side of the strings. Otherwise, it’s no consequence.

Conclusion: I’ve never been a big fan of coated strings, but these black coated strings are different.  Their cool looks, their feel, and their clear sound sets them apart for the clear coated strings I’ve played in the past. There’s also the idea that these are authentic Black Diamond strings, the brand I first bought when I was a teenager, several decades ago; and the brand that many old timers swear by.  Would I put on another set?  You bet I would.

Where to get them: Just click on the links below.

N600LB:  12-53 Light Gauge, Acoustic

N600MB :  13-56 Medium Gauge, Acoustic

Black Diamond also has black coated electric guitar strings, but I haven’t tried them yet. I’ll get to them soon, and will let you know what I think. Other Black diamond strings can be found at the link below:

Black Diamond Guitar Strings at Guitar String Depot

Rancher 110

Going Back to a Bare G String

An earlier post talked about selecting the wound G (third) string in a string set that offers a choice of wound or non-wound (bare) G strings.  I just switched to the bare, non-wound G string in the Dean Markley 2505 Nickel Steel electric guitar strings on a Les Paul, after giving the wound string a try. I liked the way wound G string played, for a while; but now I’m glad I switched back to the regular bare G string.  

 I had to reverse the guitar set up adjustments I made for the wound string. The intonation had to be adjusted to suit the wound strings, which meant the third string saddle had to be moved forward a bit, instead of being nearly all the way aft.  Also, the pole piece screw for the third string (G string) had been raised to better detect the wound string, and match it’s volume to that of the other strings. After putting on the bare string, I made both adjustments with a flat tipped screwdriver, in just a few minutes. The bare string has a stronger magnetic signature than the wound string, so I had to turn the neck pickup’s pole piece screw in one and a half turn, to reduce the bare string’s volume relative to the other strings.  As for intonation, obviously the bridge saddle had to be set back (moved aft) to bring the 12th fret first harmonic and fretted pitches together.  Both adjustments were no trouble, and the new bare string now plays in harmony with the other five.

Overall, the choice of using the bare or wound G string depends on how you want to play and sound, and to some extent on the type of guitar.  The wound string is okay for chords and strumming, but it sounds a little weak for leads.  The bare string seems to have no deficiencies.  It works for chords and leads, and is excellent for bends.  The guitar body type also matters.  I think solid body guitars deserve the bare string, since solid bodies tend to reflect individual notes and tones back to the strings they came from.  So you can bend a single note and hold it a long time on a solid body. It’s not quite the same with a hollow body guitar, which mix the string vibrations up.  They sound great for what they do, but if you want to hear those single notes clearly, you need a solid body.  The wound string is fine on hollow body and semi-hollow guitars, where you can get the acoustic response of the guitar top to add some woody overtones and warmth.

 Conclusion:  When given a choice of a wound or bare third (G) string, I’d choose the wound string for a hollow body guitar and the bare string for a solid body or a semi-hollow.  These string choices seem to be consistent with the character and sound that comes naturally out of these types of guitars.

That’s my opinion.  Let me know what you think.

Rancher 110

To see Dean Markley and other brands of electric guitar strings, click on Electric Guitar Strings at www.guitarstringdepot.com.

SOLID STRINGS YOU CAN DEPEND ON

At last…it’s good to get back to some solid sounding strings,  that sound like they’ve got some meat on their bones.  I just put these on my Les Paul after testing a set of Famous 351′s, and it’s like coming home to mashed potatoes and gravy.  What a difference, and how good they sound and play.  They don’t look fance, but they surely sound good. They are just good old nickel plated steel round wound strings and tinned plain (non-wound) strings; but made the right way.

Set Description: Dean Markley 2505 NickelSteel Electric guitar strings, which are round wound and have both a wound and bare G string in the set.  The windings are nickel plated steel, or NPS, even though Dean Markley makes one word out of “NickelSteel”. They are designated as “mediums”, with string diameters:   0.011  .013  .018(bare)/0.020(wound)  0.030  0.042  0.052 inches.   I put the wound G string on first, to see how it would sound and play, and will swap it out for the bare string later.   Each strings in the set is individually packaged in a straight forward paper envelope, with the string data on the front; with the exception of the two G strings being in the same envelope.  All of the strings had a consistent appearance and finish, with no spots or visually detectable concerns.  The ball ends were snug and neatly twisted and wrapped.

About The Design: Dean Markley didn’t cut any corners on design, but wanted to make these strings something special.  NickelSteel’s are designed to produce a magnetic signature that electro-magnetic guitar picks will listen to, and hear them loud and clear.  They are precision made with 8% pure nickel plated steel wrap, over a tinned inner core wire. This results in an easy playing string with high output and great durability.  The bare strings are also tinned, and have a smooth finish to them that makes them look like the quality strings they truly are.  Even before installing them, you can tell just by looking at a lot of care and pride went into these strings.

Installation: They were a snap to put on my guitar; easy to handle.  I found they all tuned up immediately with little or no followup adjustments required, which means there’s essentially no extra stretch to work out.  The best surprise was their sound, which was can best be described as powerful.  They seem to have very good magnetic properties, and I even lowered my neck pickup to smooth out the sound.

Harmonics? You bet!  Plenty of them, and they sustain a long time.  This is due to string consistency and uniformity over their entire string lengths, which means there are no variations, defects, or changes in string characteristics over their entire playing lengths.  If you can hear a lot of harmonics, it means vibrations travel with consistent velocities in any given string, and don’t get scattered or distorted by changes in string diameter, stiffness, strength, density, or winding tightness. I think this is a credit to Dean Markley’s techniques and quality control.

Intonation: One minor adjustment was needed, but only for the wound G string.   Since my guitar was set up for a set with a bare G string, I had to adjust the bridge saddle for correct intonation with the wound G string.  Checking intonation at the 12th fret found the G string to be a little flat when fretted, compared to the 12th fret open string harmonic. I simply moved the G string’s bridge saddle toward the neck in small increments, until the wound string gave me “proper” intonation at the 12th fret.  I actually ran out of travel on the adjusting screw, since the Tune-O-Matic bridge on my Les Paul was probably designed for a bare G string.  This isn’t a problem, because I got it “close enough”.

Playing Them:  It’s  been a joy.  Their strong sound means I can ease up a little and still get full tone and volume. I found I could pretty much level out my amp EQ settings, with mid positions for bass, middle, and treble ranges; and didn’t have to compensate for any variaitons.  My Fender Blues Junior seems to like even settings.  Chords sound very smooth and balanced, especially when played with my fingers or thumb.  I don’t use a pick so much these days, as I’m learning to get good sound without one, and I love the effect of playing the bass line with my thumb, while plucking or stumming the chords with my fingers on alternate beats.  I think the wound G string works fine for chords and finger style.  I can definitely tell it a wound string when I use a pick, though, because it sounds a lot softer.

Next, I think I’ll put the bare G string on and see how it sounds.  I’ll also have to re-do the intonation for the bare string, but that’s not trouble.

Finger Noise:  Yes, I noticed this set is not what you’d call a “low noise” string set.  Though they are not overly loud, when it come to finger noise from the fretting hand, I noticed they were louder than most.  I don’t think this is a problem, because I quickly got used to it and adjusted my fretting hand movements to get rid of the problem.  It’s just a small adjustment in my playing style I make when I pick up this guitar, after playing flat wounds, nylon, or some other strings.   This is definitely not a detriment to the quality and sound of these strings, but one things that makes them different and probably a little better than most nickel plated steel strings.  

Conclusion: I’m going to keep playing them until they wear out, and may put on another set after them.  I really like these strings.  I’d recommend DM2505′s with a wound G string for hard tail electic guitars, such as Les Pauls.  They make the body vibrate, and that’s a good thing.

Where to get Dean Markley guitar strings:

• Dean Markley NickelSteel Electric, includes DM2505 11-52′s as discussed here, many gauge choices on this page.
• Dean Markley Electric Guitar Strings, these and other’s by DM
• Guitar String Depot Home Page
• Guitar String Depot Electric Guitar Strings, for Dean Markley’s and many other brands

That’s all for now.  I’ll follow up when I try them with the bare G string in the mix, in about a week.

Rancher 110

INEXPENSIVE GUITAR STRINGS FROM CHINA

I recently tried a set of Famous 351 Nickel Electric 10″s, just to see what they are all about.  What caught my attention was their super low price, and the fact that each pack contains a free guitar pick.  I just had to see if they are in good.  I had heard they were made in China, which seems to be the way of a lot of things these days; and I would be open minded and give them an objective evaluation.  I put them on a Les Paul with super good pickups and great body resonance, so the guitar would either bring out their strengths or weaknesses.

SPECIMEN :  Famous 351 10″s, with string diameters:  10 – 13 – 17 – 26 – 36 – 46  (thousandths of an inch).  The first three are bare, and the big three are round wound.

The packaging is rather snazzy, with bright colors and lots of printed information.  Right there on the back side, under the bar code, it says “Made in P. R. C.”  It also gives the strings diameter data and looks pretty good for an inexpensive set of strings.   On opening the pack, I found each individual string was sealed in a separate clear plastic envelope, with the string identifications on each envelope.   Examining each string, I found them to look just fine.  Each string was exceptionally clean and shiny, free of any visible defects or contaminants.  The ball end twists were all tight and well done.  So far, I ‘m impressed.  They look pretty good; now let’s see how they play.

When I put them on and tuned them up, I noticed they had a lot more “stretch” to them than my familiar American brands.  They didn’t stay in tune very long, and eventually settled in and stopped stretching on day two.  Their tone was a little thin, especially on the wound strings.  Even though they sounded tinny, every string of the set sounded that way; so they harmonized with each other.  Yes, I could adjust my amp to round out the tone, and ended up doing that, though it took higher setting on the bass and mid range knobs.

Though I can’t quantify it scientifically, they seem to have  weaker magnetic properties than my favorite US made strings.  I found myself wanting a stronger bass quality, though the bare treble strings sounded about like any other.   After a week, I decided that was enough.  I took them off and put on a set of Dean Markleys….which brought everything back to normal and really emphasized how weak the Famous 351′s sound.

CONCLUSION:  Their sound is weak and shallow, requiring a lot compensation at the amp.  They look good and wear well, are really inexpensive; but I prefer the robust sound of modern American made strings.   The best part about them is the free tortoise shell pick that comes in the pack.  It’s a keeper.

HOWEVER!.….If you have a need for “inexpensive” strings and want a free guitar pick, then I’d recommend Famous 351′s.  Keep in mind, you’ll get exactly what you pay for.  That’s probably why they only cost $3.15 a set.   But if you go through strings like mad, and can live with mediocre tone and performance, then Famous 351′s are for you.  They would be great as “student strings”, until the student is ready to move up to the real thing.

WHERE TO GET THEM:  Famous 351 Electric Guitar Strings at Guitar String Depot.

PRICE:   $3.15 per set.…including a free guitar pick.   Two gauges: 9′s  and 10′s.

That’s just my opinion.

Rancher 110

A DIFFERENT KIND OF ELECTRIC GUITAR STRING

I just tried a set of Fender Stainless Steel Flatwound strings on my Epiphone Joe Pass archtop.  I liked them right away, and wonder why I had been so hesitant to try them.   I’m trying a set of  F50XL’s 11-50 “extra light”,  though they don’t feel all that light to me.  I like heavier strings, for the fullness of their tone and they way they feel under my fingers, and this set feels just fine.  Very responsive.   It’s also comforting to know they are made in the USA, so it just feels a little more patriotic to try them.

TONE   The tone is a little different in that the wound strings are a lot quieter and softer than nickel plated steel wound strings, while the two bare strings are just as loud and strong as ever.  Yes, the G-string is wound, and you have to look closely to tell…that’s how smooth they are.   The bass strings sound well balanced, and don’t get boomy when played aggressively.   I also increased the bass and mid-range knob settings on my amp, just to balance out the tone.  Previously, I had throttled back on the bass and mid EQ settings when playing nickel plated steel wound strings, which can get boomy and overpowering.  No treble EQ changes were needed for the bare strings, which is probably the common link to ordinary strings.  I also found I was running the master volume a little higher, while cutting back on the preamp volume.  This seems to sound okay to my ears, though I usually ran more pramp with NPS (nickel plated steel) strings.   I don’t know for sure, but it just seems to sound a little mellower this way.

This set sound great for chord melodies, especially when played with fingers and thumb.   Chord changes and even alternating chord voicings works well with these strings, since they sound so balanced between up the neck and down the neck chord positions, with no finger noise in between.  However, I still haven’t learned to like them with a pick.  They seem to require more energy input form a pick to get sound out of them, which makes me have to play them harder.   This may just be my preference, but I like them just fine playing with just fingers and thumb.

I also noticed that these strings sound pretty good even when playing unplugged on my archtop.  They produce plenty of raw acoustic volume; much more than NPS strings, and they sound sweeter and fuller.   These strings might even be okay on an acoustic electric guitar.   Maybe I’ll try that later.

FEEL   The feel of these strings is so easy and natural to my fingers that I don’t even think about it much, and there’s essentially no finger noise at all.   This means I can concentrate more on what I’m playing and really get into it without having to hold back and focus on keeping finger noise down.    I was surprised at how easily I can play finger-style with these strings, which is all I seem to do these days.

CONCERNS   One thing I’m going to watch for is fret wear, since the stainless steel wrap is said to be harder on the frets than ordinary nickel plated steel strings.  When I catch myself doing a bend on the G-string, I have to back off and tell myself not to do that….because it’s probably wearing down my frets.

CURRENT ASSESSMENT   So far, after a full two days with these strings, I’m quite pleased with them and would recommend them to anyone wanting a refreshing change from round wound strings.  They feel good, they sound good, and they look pretty good too.   Yep, I think I like these smooth strings.  They come in three gauge sets:  11-50 Extra Light (XL), 12-52 Light (L), and 13-54 Medium (M), and I may try a heavier set when these finally wear out.

WHERE TO GET THEM    Try Guitar String Depot, at the following link for Fender F50′s.  You can also click on the image above.

That’s all for now,

Rancher 110.

I just want to share this eye opening “discovery” with anyone who wants a sweeter and mellower sound out of an archtop electric guitar.  I had heard about this some time ago, but had not tried it for myself until yesterday.   I put a set of acoustic strings on my archtop, just to see if the myth was true….and I was amazed at the difference, and pleased with the sound, feel, and playability.

I removed a set of Ernie Ball nickel plated steel, round wound strings (11-52′s) and put on a set of SIT GB1252 Golden Bronze 80/20 (12-52′s), since they are inexpensive but of good quality.   The installation was a snap, as I replaced one string at a time, in order to keep the bridge in place and set to its proper position for good intonation.  The SIT’s tuned up right away and held their tension after the initial tuning, even after a couple of hours of joyful exercise.

The sound is a bit different than what I had with nickel plated steel wound strings, since the magnetic  cross-section of the acoustic strings is only the core wire itself.  This made for a softer and weaker signal to my amp (Fender Blues Junior), but it’s easily taken care of with some simple adjustments.  I just adjusted the individual pole heights under the wound strings upward, to gather more magnetic influence form the strings, until I matched the volume of the bare first and second strings.   After that, I had evenly voiced strings with a warm sound much like that of Joe Pass and the other masters form the golden age of Jazz guitar.    The most delightful difference was the fact that I could play with more intensity, without having the bass strings get too boomy.   That’s just the magnetic effect.  There’s also the acoustic factor, in which the wood of the guitar flavors the tone of the overall sound.  I think the acoustic strings bring out the natural wood tones (spruce top on a maple body) better, and it adds a nice element to the overall sound.  The body tones come back into the strings as they vibrate, and allow the body tones to be heard  through the pickups.

EQ:  This is up to you, but here’s how I like it.  I play with my guitar volume at or near max all the time, and the treble trimmed back to about 70-80 percent of max.  I set the amp treble, mid, and bass knobs at 4-4-5, respectively; and the preamp volume at 3.  I use the master volume as the main amplitude control, setting it anywhere form 3 to 5, depending on how loud  I want to be.  The “Fat Switch” is OFF, since it tends to muddle the beauty of chord melodies, and covers up the subtle inflections given to specific notes in lead lines.  It’s okay for some things; but not for smooth chord melodies.

I found it much easier to play finger-style Jazz with acoustic strings.  They feel softer and more flexible than electric strings, and they convey my mood and feelings much better.  I felt I had to hold back with nickel plated steel electric strings, since they tend to over react with massive increases in volume if I would give it just a little more feeling and energy.  Not so with acoustic strings.  They are a good match for me, and I’d recommend trying them to anyone who loves his archtop and wants to get more out of it.

I don’t think it makes a lot of difference which acoustic strings you use, since the magnetic influence on the pickups is due totally to the core wires in the wound strings, and the diameters of the bare strings of course.   However, the winding alloy probably affects the natural body tone of the instrument, just a little; and that may detectable in the degree of warmth or brightness of the overall tone.   I am quite happy with the 80/20 bronze strings, for the moment; but I’ll try other alloys as time goes by.

Where to get strings:

Guitar String Depot:  www.guitarstringdepot.com

SIT Acoustic Strings:   click here

I hope this sheds some light on your questions about guitar strings, and how they affect the overall sound and personality of your guitar.  Don’t be afraid to experiment, and see for yourself what you can do just by changing the type of strings you play.

Rancher 110

I think this is perhaps the most delay pedal for the buck that I’ve ever seen.  Honestly, when you check the prices of pedals with similar features and performance, you’ll agree the D-8 is a real deal.  At less than $25.oo each, you may want to grab one or two extras.  Plus, the sound quality   It’s extremely clean and has no audible “noise”, and the tone of the repeated signal is just as clean and bright as the original played notes.  Some purists and audio professionals would probably find some minor faults with it, but it’s certainly good enough for most of us non-professionals.  I’ve been playing with it for over a month, and I can’t find anything to complain about; and I’m having a ball with it.

What does it do?

The D-8, as well as essentially all delay pedals, lets you add repeat “echoes” of every note you play, and control them in term of the number of repeats, the time interval between them, and the depth of the repeat signals.  It’s a lot like an echo, but more exciting.  It’s what gives Rockabilly that classic highway sound, or it can create that dreamy, watery echo sound you hear in deep, soul searching melodies such as Brian Setzer’s “Sleep Walk“.  The delay effect adds that extra dimension to the sound of your electric guitar, that not only multiplies the sound, but multiplies its emotional effect and impact for the player and the listener.  It’s not limited to Rockabilly, but also sounds pretty good in Country and Surf.   I’ve even tried it with my acoustic electric, and found I could simulate some of the sounds I’ve heard in Peter White’s cool Jazz solos.

Description and Features:

The Danelectro D-8 shares the basic body housing as most of the FAB series pedals, with the distinguishing factor being its champaign metallic color.   The battery is accessible through the bottom cover, which comes off easily by undoing the captive screw.  The screw head is actually a rubber knob with ribs, so you can grip and turn it easily with just your fingers.  There’s also a straight screwdriver slot, in case somebody puts it on to tightly.

Nothing happens until you press the footswitch, to switch on the electronics.  The bright blue LED come on to let you know you are engaged and the effects are active.  All controls are at their minimum values with the knobs in the fully counter-clockwise, starting position.  Their effects increase as they are turned in the clockwise direction.   The pedal is in the play through, or bypass mode when the LED is off, and you have pure and clean transfer of your guitar input signal straight through, with no effects added or sound degradation.

Three Kobs:  REPEAT, TIME, and DELAY.  These three black knobs have a solid and precise feel, and a small red index mark on the end to let you see where each is set.

REPEAT – This lets you set of repeats you want, from one to about six or eight.  They fade out in amplitude with each successive repeat.

TIME - This knob adjust the time interval between repeats.  It starts at 80 milliseconds (ms) and goes up to 600 ms.   Now 600 ms is quite a long time; long enough that you’ll find yourself waiting for the repeat as you get ready to play your next note.  But, it has its uses as a powerful reinforcement to your original line.

DELAY – This sets the level, or strength of the repeats.  In the fully counter-clockwise position, the level is essentially zero; but turn the knob the other way and you get a strong repeat.  The trick is to find the sweet spot in between. 

9V DC Power – It can run on an internal 9 volt battery or external power form a 9-volt power supply with a center negative polarity.  I’ve been running it on a battery, and it seems to be no strain on battery life….unless you leave it plugged in when not in use.  That’s something you have to remember: The battery is discharging when there’s a cable plugged in to the INPUT jack.  It closed the circuit and will drain the battery, even if the footswitch is OFF.   I just unplug the guitar cables from it when I’m not using it, and the battery goes for weeks.

INPUT Jack – This is where you connect a standard 1/4-inch cable form your guitar to the pedal.

OUTPUT Jack – This is where you connect a standard 1/4-inch cable from the pedal to your amp, or next pedal in your chain of effects pedals.

Footswitch – Press the switch to turn the effects on; tap it again to turn them off.  The blue LED lights up when the footswitch is in the ON position.

Overall Impression:

WOW! This pedal is really great for expanding you sound, and adding additional depth and dimension for extra enjoyment. The sound quality is there, and the range and impact of the controls is more than enough for most of us.  I usually play with relatively shallow delay, and limit the number of repeats and time interval so my next notes sound out clearly.  The repeats then fall in behind and under the original signal. What gets me is the low price. You can buy four to six D-8′s for the price of a single 600 ms delay pedal by the other big name manufacturers.   You could get one for a gift for someone else.

If you want a GOOD 600 ms delay pedal that’s also INEXPENSIVE , this is it.

Where to Find It:

You can find the D-8 for just $22.95 at the following link: FAB 600 ms Delay Pedal.   That’s Guitar String Depot.

Images:

Yes, these are all my shots.  They were taken with a Pentax K20 digital SLR, using a second hand Pentax 50 mm, manual focus lens.  All were shot in mid-afternoon direct sunlight, on my front porch, in the Texas Hill Country.   Very little editing was done on these images, other than resizing and cropping to fit my blog pages.  I find it’s easier to create my own images than to search for and never find what I really want on the Internet.  Besides, it’s personally satisfying to do it this way.

Life is good.

Rancher 110

P. S.  The baby deer I wrote about a few months ago is alive and well.  She’s now about two-thirds the size of her mama, and still has some of her spots.   I see them about once a week, out on my place.

Wow!  I just say Brian Setzer’s performance at the grand opening of the Montreal Jazz Festival last night (25 June) on his MySpace.   It was a live performance, in front of an endless crowd, and he really rocked.   He played some of his classics such as “Sleepwalk” , “Stray Cat Strut”, and “Fishnet Stockings”; plus his new “Lonely Avenue” .  The camera zoomed in for a close-up when he did his trick with the Master Volume on his Gretch, near the end of “Sleepwalk”, where he mimics the sound of a steel guitar.  With the fourth finger of his picking hand extended to engage the Master Volume knob,  he mutes the volume as he strums a chord.  Then he rolls the volume up and down by moving his hand, making it waver like an echo. My jaw dropped, when I say how he did it.  Truly amazing.

As he started to leave the stage at the end of the show, he came back for an encore, saying “I don’t care what time it is, we still haven’t rocked this town.”  He and his Orchestra played on.

I’ve marveled at Brian Setzer’s ability to generate notes, chords, and tones on his guitar that reach deep into heart and yank out  emotions and feelings that linger a while.   Whether its punk rock, rockabilly, or Jazz, he seems to have a way of bringing out the rebel in us all, from his early days with the Stray Cats to the modern Brian Setzer Orchestra.

I’ve researched his guitars and gear, to better understand how he does it.  Most of it is pure talent that comes form him; some of it is his instrument and equipment.  I’m convinced that everyone has his own distinctive sound, and the physical equipment can’t disguise or alter it much.   Chet Atkins always sounds like Chet, and I can recognize him in the first two bars of anything he has ever played.   Brian Setzer is the same way.

Now, for those of you who dig his sound and want to recreate it for  yourself….from yourself, here’s something that can help.   It’s his strings.   Yes, they are simply, just  D’Addario EXL’s.    He plays EXL110′s and EXL115′s.   They are simply nickel plated steel, with round windings over hex cored high strength steel.  Nothing fancy there, just exceptional quality and consistency, string to string, set to set.  These days, such consistency in high volume production is only possible with automated, computer controlled manufacturing and inspection.  D’Addario  realized this a long time ago, and now sets the standard for quality in guitar strings.  The result is reliability in tone and performance that keeps players coming back, when it’s time for new strings.   You just know in advance they will sound right, before you put them on.   Quality means you get exactly what you expect.

Buy EXL110′s: Click Here. String Diameters:  .010  .013  .017  .026  .036  .046  inches

Check out Brian and the Brian Setzer Orchestra at www.briansetzer.com.   His Montreal performance is still available.  Just click on the tdmusiclive.com link on his HOME PAGE, under the heading MONTREAL WEBCAST.  I think you’ll like it.

Rancher 110

About a week ago I decided to explore a subject that’s been on my mind for months, regarding how much tensile stress is present in typical guitar strings, and how it might vary with different string gauges.  What I found when I actually did some calculations surprised and amazed me.  I had no immediate explanation for what I discovered, and it took root in my mind like a riddle you just can’t stop thinking about.

“What is tensile stress?”, you might ask.   Good question, and it has a very simple answer.  Tensile stress in a guitar string is simply the tension load that is applied to the string to bring it up to proper pitch, divided by the cross-sectional area of the string.  It can be easily expressed as pounds per square inch, or abbreviated “psi”.  The more tension you apply to the string, the higher the tensile stress on its cross-section.  Think of the cross-section of a string as a simple circle.  It’s area is simply one fourth of pi (3.14) times the diameter squared.  Light gauge strings have really small cross-sectional ares, and yet they carry a lot of tension loading.  So, you’d expect them to have a high stress.  I just didn’t know how highly stressed they are until I did the calculations.

Here’s how you do the calculations. Some string manufacturers, like D’Addario, provide all the information you need to calculate string stress, at least for their bare, non-wound strings.  All you need to know is the tension load needed to bring the string up to proper pitch, and the diameter of the string.  D’Addario’s string data, found on their website and on the back of every package of D’Addario strings is all you need.

Since I wanted to gather data for several different sets of strings, and didn’t want to have to do a long-hand calculation for each string, I set up a simple Excel spreadsheet to list the data and run the calculations.   I set up a row for the tension load for each string, and the respective string diameters beneath it.  In the third row, I set up a simple formula for stress, in which I divide the tension value in the first row by the cross-sectional area of the string, as based on the diameter.   After running the first calculation manually, I then used the Fill Right function to instantly calculate stress for all the other strings.  Computers are good at this.

What I found was a jaw-dropping, stone cold consistent level of stress in all strings of the same pitch, regardless of string diameters.  I found all high E strings carry a tensile stress of about 206,000 psi; all B strings are stressed to about 115,900 psi, and all bare G strings carry about 73,150 psi.  When I say “all”, I mean strings from at least four different gauge ranges.  I looked at ultra light 8-38′s,  9-38′s, 10-42′s, and 11-49′s.  I only examined the bare first, second, and third strings just to keep it simple.  I didn’t want to confuse things with wound strings, in which the cores are considerably smaller than the outer diameters.  I’ll save that for another time.

Now this really woke me up..  First, I didn’t expect to see the consistent stress distribution.  Second, I didn’t know how to explain it.  So I dove into a quiet study of the mechanics of vibrating strings, off and on for a few day.  I came across some old and familiar looking formulas for pitch frequency and other characteristics of vibrating strings.  All of these seemed to skip the issue of string stress; so, I took it upon myself to start with the classic string equations and derive a meaningful stress equation.  I also e-mailed the Ian Noyes in Victoria, Australia, who published an article back in 1982 on string vibrations, to see if he had looked into this question.  He answered back that he had not, but he recognized the truth of my discovery about the uniformity of string stresses.  He also found it interesting, and also stated trying to figure out why it was that way.I struggled with the string formulas for a couple of days; then, late one night, I came to me.   Within half an hour I had worked it out.     What I came up with was a stress formula that shows tensile stress has to be a constant for all strings of the same material, vibrating length, and desired pitch….regardless of string diameter.   I also noted there is a constant relationship between tension and the square of string diameter.  This constant relationship explains perfectly how tension must change when you change string diameters, if you want to maintain the same pitch.

Okay.  Enough talk about what drove me to do it.  Here’s the step-by-step derivation of the stress equation, starting with the classic string frequency equation, for those geeks like me who can’t resist a good riddle.   The math is fairly easy, and the text tells you what I did at each step.  There’s even a data table at the end.  Sorry if it looks like an eye chart.

Analysis of Tensile Stress
In Bare Musical Instrument Strings

Objective:

The objective of this exercise is to determine the significance of tensile stress in solid, non-wound musical instrument strings.  It has been observed that essentially all strings of the same active length and tuned to the same pitch frequency have the same value of tensile stress, regardless of their specific diameters.   This is particularly noticeable in various gauges of guitar strings, which carry the same level of tensile stress even though they are of different gauges.

Logic Process:

We will use the following terms is this exercise:

f  =  frequency of vibration, as associated with “pitch”

T =  tension load in the string

L =  vibrating length of the string, or scale length of the  instrument

μ =  linear density of the string, mass over the total length L

ρ =  specific density of the string material, mass per unit length

m = mass

σ_T = tensile stress

We will dispense with assigning units of measurement to these term, to maintain simplicity.  Units may be added later, along with appropriate conversion factors, in order to calculate specific quantities.

Let’s start with the general string equation for pitch frequency.

f = (1/2L)(T/μ)                        General String Equation

Now we can make some useful substitutions to introduce terms we will need later. First, for linear density μ, we recognize that this is mass divided by length.  So μ=m/L.   Substituting this into the general equation, we have

f = (1/2L)(TL/m)

Next, we note that mass m is the product of the specific material’s density and volume.  So m =ρV.   Substituting this for mass in the general equation, we have

f = (1/2L)(TL/ρV)

We also note that volume V is also ¼( π d²L).

f = (1/2L)(TL/ρ ¼(πd²L))

f = (1/2L)(4TL)/ρ(πd²L)

f = (1/Ld))(T/ρπ)

Now, we square both sides of the equation, and get

f² = (1/L²d²)(T/ρπ)

Rearrange to bring out T, and we have

T=ρπL² f² d² Tension Formula

This is a relatively simple tension equation, which brings us closer to the objective of a stress formula.  Now, all we have to do is divide the tensile load T by the cross-sectional area of the string ( ¼πd² ) to have an expression for tensile stress s_T .   So now we divide both sides by ¼πd² and simplify, to yield

T/(¼πd² ) =ρL² f² = σ_T Stress Formula

Further simplification is possible, but unnecessary.  What we can see here is that for any give pitch frequency, with a fixed material and a fixed scale length, the product of the ρL² f² is a constant.

T/(¼πd² ) =ρL² f² = Constant = σ_T

Conclusions:

Ÿ1. Tensile stress  σ_T in a string is a constant for every specific pitch frequency.

Ÿ 2. The relationship between string diameter d and tension T has to follow a fixed rule such that T/d² = a constant.   This is why string tension must decrease when we reduce string diameter, if we want to maintain the same pitch.

Findings:

Before beginning this exercise, I ran some simple calculations to see how much tensile stress is present in typical guitar strings, just to satisfy my curiosity.  I selected a few sets of D’Addario strings and used string diameter and tension load data given on their website to make my calculations.  What I found was a consistency between all gauges of strings of the same pitch.  The following table lists the results of my calculations.

I think there is an amazing consistence in the tensile stresses in each string of the same pitch, regardless of gauge diameter.  I believe the the fidelity of the data given by D’Addario, that is the rounding off of some of the load values, results in minor mathematical inconsistencies.  If more precise values were available for string tension, then I’m sure we would see a very close matching of all these stress figures.  It’s also possible that specific differences in string alloy, heat treatment, or surface finishing may contribute to minor inconsistencies in the data.  I chose not to round anything off, but to present it in the whole form.

This analysis looked only at bare steel strings of the similar types.  Extending this approach to other string types will probably yield similarly interesting results.

Rancher 110

17 June 2010

P. S.  My thanks to Ian Noyce for encouraging me to keep at it.  Please visit his website  at www.noyceguitar.com.

Have you ever changed from a wound to a plain third (G) string, or plain to wound, and found it just didn’t sound right when fretted or forming chords in the upper register?   If your guitar was adjusted for proper intonation for the previous strings, it may have to be adjusted for the new set.  It’s critical that you check and adjust your intonation when switching between plain and wound strings.   They will probably be “off” if you do nothing else; but don’t worry, it’s easy to fix the problem.

Here’s a practical lesson I learned about wound versus bare strings. I chose a set of SIT Power Wound 11-50 medium light strings on to evaluate the difference between a wound and plain G-string.  This particular set comes with two G-strings: a 0.020 plain (bare) string and a 0.026 wound string.   You can use which ever you want, and save the other.  I put the wound string on first to see how it would sound.   Since this set replaced a lighter set with a bare G-string, I reset the intonation to match this set.   The new set played just fine and sounded great for chord melodies and general rhythm pieces, and I was happy with them.  I think the reason some people don’t have good results with wound G-strings may be that they didn’t change the intonation to match the new strings.

Now it’s time to get on with checking out the bare G-string.  All I had to do was to change the G-string.  The guitar I used for this test is a Carvin SH275 semi-hollow.  Changing strings on the Carvin is a breeze.  The locking Sperzel tuners unwind in less than one turn, then you just have to loosen the thumb wheel on the back of the tuner to release it’s grip on the old string.  Then, just pull the string back out of tuner post and all the way back down through the through-body anchor point, and it’s gone.  Putting on the next string is just the reverse of this process, and takes less than a minute from the time you insert it through the body until its tuned up.

Intonation was checked the old fashioned way, by comparing the twelfth fret harmonic to the fretted pitch at the twelfth fret.  The objective is to get them to be as close to equal as practical.  I used a Korg tuner to bring the string up to proper pitch, but used my ears to compare the harmonic and fretted pitches.   No other variables were altered.  Bridge height wasn’t changed, and neither was truss rod tension.   Both of these factor have an effects that alter intonation.

The intonation for the wound G-string requires moving the saddle forward a little, much like that of an acoustic guitar.  In the next picture you see the bridge with all saddles set for proper intonation for the given string set, which includes a wound G-string.  Notice how the saddles for the four wound strings pretty much line up, in an angled array across the bridge.   Notice also how much difference there is between the wound G-string’s saddle position and that of the bare B-string next to it.

Next, after exchanging the wound G-string for a bare string (form the SIT set),  checking the intonation determined the new bare string gave a sharp fretted tone, as compared to the open string twelfth fret harmonic.  This meant the “active” length of string from the initial saddle position to the twelfth fret was shorter than the corresponding length to the harmonic spot above the twelfth fret.  The solution to getting proper intonation would be to move the saddle back, toward the tail of the guitar, to increase the distance to the twelfth fret.  I used a small, flat tipped screw driver to turn the saddle screw in the clock-wise direction.  With a right-handed thread, this pulls the saddle toward the screw head.   It took a few tries to get the fretted and harmonic pitches to match, as this is a trial and error method.  You have to test each small increment of saddle movement to see if it’s what you want.

The picture to the right shows the final position for the G-string saddle.  Notice how the saddle for the third string (G) is set back to increase the “active” or “playing” length of the string.   Intonation settings for the other five strings were fine, and no adjustment was necessary.

What must be remembered in switching between wound and bare string is the intonation change.  Wound and bare strings have different characteristics that affect they way they vibrate, which makes it necessary to check and sometimes adjust the individual string intonations when changing string types or even gauges.   That’s because wound strings are more flexible, but  have more mass per unit length than an equivalent gauge bare string.  The stiffness of a wound string comes primarily from its core wire, which is a small fraction of the string’s total diameter.  In contrast, a bare string is all core, with no extra weight.  These factor come into play in how strings flex and behave as they cross the bridge saddle, as well as how the vibrate.   As string gauges increase, you need to add more total “active” length.  This is true for both plain and wound strings, but in different proportions.  This difference becomes apparent when you switch between wound and bare third, G-strings.

About the strings: These are SIT (“Stay In Tune”) Power Wound S1150 medium light electric guitar strings ( Link ).  The set is designed with a wound third string, but includes a bare third string just to give you an option of using a bare or wound string.

String diameters:  0.011, 0.015, 0.018 (bare) or 0.020 (wound), 0.026, 0.036, and 0.050.

The wound strings feature nickel plated steel round  windings over a tempered hex steel core.  The bare strings are also tempered steel.   All string end twists are treated with SIT’s special chemical binder, to prevent any slippage or unwinding at the ends.  This apparently is one of the reasons they “stay in tune” so long.  They are exceptionally high quality strings and their tone is fantastic.  The 11-50 set has a firm feel and they make six string barre chords sound full and lush,  regardless of which third string is used.  The bare treble strings sound strong, not thin or tinny.  I think the wound third sounds fine for chord melodies and general strumming, but bare string sounds better for picking notes and bends.

Conclusion: The objective of this article was to emphasize the need to check and adjust your intonation to match the type of string being used.   Intonation will change if you change string types or gauges, due to the specific stiffness and mass characteristics of each string.

Rancher 110