|
Post by Deleted on Jan 3, 2019 14:45:28 GMT
If you want a floating trem on the stage then by all means use heavy gauge strings which dont break easily.
|
|
|
|
Post by Deleted on Jan 3, 2019 15:26:29 GMT
I would only worry with strings like 9's or 8's but not with 10's as I never strum very hard to come to the point of breaking the high e
|
|
3,457 posts
|
Post by LeoThunder on Jan 3, 2019 16:01:01 GMT
I never broke a string while playing. I don't hit them hard and I don't pull on them all the time but a Strat' bridge has a clear limit when floating, so I suppose there is little danger. A Floyd Rose is another matter. Philip McKnight made a video in which he tested the breaking point of 9s and they all broke at A or further. A floating bridge will usually pull them a semitone (when set to pull the G string up a minor third), maybe a little more. Besides, broken strings are what gave Clapton his nickname He played a Telecaster back then. Must have been some savage… I love my modelling amp because it can generate all sorts of sounds and I keep going to those I don't like as much every now and then. Life is too short to search for things. I'd rather find something else.
|
|
DefJef
THBC Moderator
Due to musical differences I've decided I can't work with myself any more.
|
Post by DefJef on Jan 3, 2019 23:10:40 GMT
I would only worry with strings like 9's or 8's but not with 10's as I never strum very hard to come to the point of breaking the high e It's true they shouldn't break but I'm always on edge when I bend a string. I'm the same with blowing up balloons! Fortunately the only two times I've broken strings on stage I was already clued up for the floating bridge disaster so could get to the end before swapping guitars...and then worry with my usual balloon burst fear for the rest of the gig because there was no spare spare .
|
|
3,457 posts
|
Post by LeoThunder on Jan 4, 2019 6:42:34 GMT
He never breaks a string either:
But I don't know yet how to explain the problem he describes. I can reproduce it on all my guitars with a floating bridge, also on the ZR/ZPS one.
|
|
|
Post by bretterbernd on Jan 4, 2019 10:40:11 GMT
Well, got my TE52 today, along with the Kluson Vintage Bridge and the rest of the mods. Out of the box it played well, had no noticeable flaws except for a high action and a few buzzy frets. I'm quite suprised. Neck looks straight and set right as well, now she's waiting to get her fret treatment and the new tusq nut.
I made some decals for the headstock, is anyone experienced with recoloring the headstock after sanding? I'm not quite sure how to match the color, since i need to get the HB Decals off.
|
|
|
Post by roberto on Jan 4, 2019 11:09:32 GMT
Nice Bretterbernd! Now you have some cool working to do with relevelling and Tusq nut positioning, but HB TE 52 and fenderish type are easy to working for the upgrading of the nut. Also for me a lot of nuts upgrading in these days and in the days before with 3 HB TE. Yesterday was the turn of my HB JA 60, changing the orrible plastic nut with a Tusq with no problem. Today I've spent all my morning time with my SC Custom changing the plastic nut with a new Tusq, but this was more diffucult to assemble for filing etc.
|
|
|
Post by bretterbernd on Jan 4, 2019 11:13:57 GMT
Really looking forward to finish this project. I'll post an update and some before/after samples as soon as she's back from the tech. Next steps will be the coppershielding, 50's wiring and a new set of PUs.
The Tuners were really okay tho, so guess they'll stay for a while.
|
|
DefJef
THBC Moderator
Due to musical differences I've decided I can't work with myself any more.
|
Post by DefJef on Jan 4, 2019 11:58:24 GMT
He never breaks a string either: But I don't know yet how to explain the problem he describes. I can reproduce it on all my guitars with a floating bridge, also on the ZR/ZPS one. I've never scientifically noticed this although I do have a tendency to give the trem arm an occasional little tap just in case. Interesting that it's only happening to his G, the regular bete noir of the six stringer. One thing that did strike me was that my ear wasn't hearing the G flat in any unacceptable way on that vid. Makes me wonder whether the tuner is picking up harmonics, maybe even from the trem springs, and pressing the arm kills them? Would be interesting to see what a more sensitive tuner like a strobe might make of it. Especially one that can focus on a very narrow frequency band. He's right, of course, about string breaking. I've not actually broken one for about four years and that was not live and was when playing some very old strings. The floating trem devised a whole new tuning all by itself. I guess I'm being overly pessimistic about it happening on stage, especially if I bothered to change my strings more often, but I feel I have enough to worry about, like will my band mates remember their cues or remember to give me mine, will the lyrics drop out of my head or will I step on the pedal at the right pedal at the right moment without that little problem niggling away at the back of my mind.
|
|
3,457 posts
|
Post by LeoThunder on Jan 4, 2019 14:25:29 GMT
I've never scientifically noticed this although I do have a tendency to give the trem arm an occasional little tap just in case. Interesting that it's only happening to his G, the regular bete noir of the six stringer. One thing that did strike me was that my ear wasn't hearing the G flat in any unacceptable way on that vid. He doesn't say it happens only on the G string. I tried it and it happens on the others too (which sometimes end up sharp) but maybe more on the G because it usually gets bent and lifted together with the B. I could observe that proper tuning is usually restored by pulling the bar (and strings) while depressing it doesn't help. That deviation occurs on all my floating bridges except on the Ibanez ZR after I set up the Zero Point System properly. And no, I probably wouldn't hear the difference any more than that of tonewoods, so I'll call it another false problem that keeps perfectionists unhappy. I know being a little out of tune is what makes sounds interesting. I know equal temperament is not just. I know all these things are just making people run around in circles for no valid reason.
|
|
|
3,457 posts
|
Post by LeoThunder on Jan 4, 2019 15:11:23 GMT
He does a very quick push to fix the tuning. I suppose if he releases the bar and lets it rebound, it allows for a back and forth. When I push and keep my hand on the bar on its way back, there is no correction. If I push it down and let it loose, there is one. If I pull and hold it back on its way down there is also a correction.
|
|
|
3,457 posts
|
Post by LeoThunder on Jan 4, 2019 15:56:19 GMT
This little experiment showed me a few interesting things. Using the computer interface for the tuner, I could see exactly how far out of tune my guitars went. At first, I was unhappy with the stability of one of my ST-62 but very happy with the other. Graphite in the nut solved it (the pencil trick). The decried "cheap" string trees they came with are no issue at all once lubricated. Furthermore, they both are just as stable as the 2-point bridge on my Ibanez SA. This one has no string trees and a pencilled nut too. I even changed the 25 year old strings I had on it. Now, that was necessary It's very good now but the presumably outdated 6-screw "vintage" cheap thing works just as well. Those who claim a significant advantage of the recent variants probably don't know how to set up the old one. The 6 screws may not be tightened. Yet, this is how I received my ST-62DLX. I suppose lubricating these screws could add a little more stability too but I have it at a point where I don't need a better performance. Finally, I got to fine tune my set-up of the Ibanez ZR/ZPS thingy. Now, this one is really good. Glad I got this version instead of some Floyd Rose declination. It even comes with an on-board intonation tool. Now I need to learn to use the silly things.
|
|