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Tested: Where Does The Tone Come From In An Electric Guitar String?


kennywtelejazz

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Do you think the brand of strings you use has more Mojo and better sounds than all the other brands of strings and string configurations that are currently out there on the market ?

Think again....  let us  know what you think after you see what this guitarists simple tests results prove .

Kenny

Edited by kennywtelejazz
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Says to me there's a lot of hype out there and a lot of people spending hard earned $ on strings they don't need.

On acoustics, I think the decay is a genuine thing (as demonstrated) but on electrics - nah - I'm less convinced.

A quick rub with some metal polish every few weeks and my strings are good to go. 😂😂

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2 hours ago, Bapu said:

I may be mis-informed but aren't there like only two guitar string manufacturers?

I know Martin makes their own strings so there's at least 3.

How do I know this ... some of my relatives used to make their strings in Nazareth ... before they opened their factory in Mexico that is ...

... ... ...

... ... ... ...

... ... ... ... ...

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I first realized this back in 1971 when I plugged a guitar into an oscilloscope at electronics school and said "well, whattaya know? I can do that with my Heathkit signal generator." 

There are many more than two manufacturers, including some boutique operations and of course a bunch of Chinese companies that specialize in those awful strings that come stock with $69 student guitars . Here in the US, many (most?) are made by Dunlop Manufacturing in Los Angeles.

Dunlop's chief string designer (yeh, that's a real job) used to be a regular on the old SONAR forum, under the handle Stringmaster. We met in person at the 2008 NAMM show, where I found out that they not only probably made your strings, but your picks as well. They don't advertise it much, but pretty much every brand you've ever seen in any North American music store is made by them.

There are several differentiators among strings, but brand name isn't one of them.

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Different strings sound completely different to me, I don't know that a single strum or pick of one string would highlight the differences though. Ernie ball and D'addario and DR strings all sound completely different to me, chrome flatwounds on an electric are radically different as are coated strings. They also sound radically different with age, there is no comparison between old worn strings and brand new strings, I like them to be about a week old.

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This kind of thing is always interesting but doesn't prove that all guitar strings sound the same by a long shot.

I haven't done these tests in over 5 years but when I did there were clear differences in tone as well as feel using the same size strings from different makers.  And some strings keep that sweet spot of tone far longer than others (and I'm not talking about coated strings).

That said, these differences are going to get lost in the mix so to speak.  But are interesting when obsessing over tone playing alone or in the studio.

 

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14 hours ago, AndyB01 said:

Says to me there's a lot of hype out there and a lot of people spending hard earned $ on strings they don't need.

On acoustics, I think the decay is a genuine thing (as demonstrated) but on electrics - nah - I'm less convinced.

A quick rub with some metal polish every few weeks and my strings are good to go. 😂😂

+1

Most if not all of my guitar playing career had more than one constant .I was broke and having new strings was always a treat . I often use lighter fluid to clean my strings,

I Hate to admit this but it is true ...I have guitars over here that would have birthday candles on a cake if I celebrated how old the strings are on some of them  .

My one and only Bass has a set of flat-wounds I put on it back in 2001 . In some States these strings could walk into a Bar on a Friday Night and legally order a drink  🤣

Kenny

 

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15 hours ago, SteveStrummerUK said:

Indeed ...

 

 

... Ernie and Ball ☺️

I use Ernie Ball Slinky 10's on some of my  guitars and Ernie Ball Power Slinky 11's on others ...

Two weeks ago I was in an area of town where there is a super nice mom and pop music store .  Craig knows the exact store I'm talking about, Beacock Music .

While I was there I said to myself " Hey maybe I should pick up some new strings "  I had a little bit of money on me so I walked over to the string display wall and found the Ernie Ball section . When I saw they wanted $6.99 plus tax for a set of strings I used to pay about 4 bucks for I said to myself shit what am I gonna do ? It is pointless for me to buy one pack when I need at the very least 6 packs of strings just for what I have out of the cases and that's not including the guitars I haven't played in a while .

Then my wallet piped in and let me know that it had caught a severe case of Blue Balls . I grabbed my wallet , squeezed my own balls to see if I was having a nightmare Then I got the hell out of there as fast as I could .😜

It may be possible that some fellas around here are used to those prices ...I'm not ...I may have to look into other options for getting a better deal on strings .

Kenny

 

Edited by kennywtelejazz
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Let me skip over to you for now since you have brought up an interesting point

8 hours ago, Brian Walton said:

This kind of thing is always interesting but doesn't prove that all guitar strings sound the same by a long shot.

 

Was his approach perfect ? No ! far from it . There is no way anyone can prove or disprove that all guitar strings sound the same under any given set of circumstances unless  machines are used that are calibrated to perform all the simulated playing actions dead balls on the mark each and every time  a string is struck .

In all his examples he had to keep his strumming attack the same through out .The guy is only human and it was clearly the only constant he could have used in his examples to gauge in a fair manner how each and every string brand and gauge would react to the various tests he performed  .

FWIW , I think he tried his best to get as close as anyone  could get to a "uniform "test .

8 hours ago, Brian Walton said:

I haven't done these tests in over 5 years but when I did there were clear differences in tone as well as feel using the same size strings from different makers.  And some strings keep that sweet spot of tone far longer than others (and I'm not talking about coated strings).

I haven't done these tests personally but I have been playing the guitar for almost 60 years .

My idea of a sweet spot are a lot of things combined . It involves  finding the right combination of brand of string combined w the correct string gauge and string construction to achieve a synergistic inspiring sound and feel of the guitars neck and fingerboard while I'm playing music  .

Spoken plainly I like a good tension on the neck but I do not want to have to fight the guitars finger board  . For that to happen I have to take each guitar on a case by case scenario to find what works best for the guitar in question .

Now I understand in his video he was not approaching his tests from that point of view .....he just kept it to exposing the various factors and myths of "just the strings" , how they sound , and how they live and die ( if they actually die ) ...

IMO his approach seemed to be a valid approach . He used his material to bring peoples awareness on board to get an honest glimpse of his information and point of view  .

I am still haunted on one level after having watched his video by the idea  if I had handed him my big hollow body  guitar . A Howard Roberts arch top style guitar w an oval sound hole that features  a floating pick up connected to the neck ...that he would not have been able to have done a uniform test .

That style of guitar needs a fair amount of string pressure exerted on the guitars top and  bridge to make a musical full bodied sound . I'm not saying it can't be done ...the Tele is probably a much better choice for a test bed ( I have 6 of them ) When all is said and done it is  still on me to find and use  what is best for my own guitars  ....

My guitars  are a varied dysfunctional cast of brands , woods , designs and electronics . They have to put up with me so they do earn their keep  xD

8 hours ago, Brian Walton said:

That said, these differences are going to get lost in the mix so to speak.  But are interesting when obsessing over tone playing alone or in the studio.

 

Sure I agree with you on that point .

All these type of evaluations are a good way to pass the time, stimulate the mind , and form a basis of personal experience where one can let go of stuff that no longer matters . Yeah stuff that needs to be let go of to make room for other helpful influences that can help bring augmentation to  ones own playing, music and creativity  .

Peace Out

Kenny

 

 

Edited by kennywtelejazz
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My primary criterion for selecting guitar strings is how much they 're gonna hurt my soft, delicate piano-player fingers. Back in the day when I played guitar on stage, they were Ernie Ball Super Slinkies (08's). In my defense, it was a Rickenbacker 12-string. Double the pain.

I also used FingerEase. Remember that stuff? You'd spray it on the strings to make them slippery. Sure, it attracted dirt and oil and assured the strings would only last a week before they suddenly began drawing blood. But on a fresh set of strings it was like fingering a wet, uh, grapefruit.

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