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Not changing the setup on his guitar to accommodate heavier strings make most of his conclusions meaningless, IMO. Other than that, he certainly talks a lot.
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I don't put much credit in this presentation. As Mike indicated the setup should have been changed got each string gauge. But IMHO there were a number of things that would change the effect of string gauges on tonal qualities that were either just brushed over or ignored completely.
1-He used just the bridge pickup and that would produce more treble than the mid or neck pickup. If he had used each pickup individually he would have heard the different tonal qualities of those different gauges.
2-Also if had used different pick gauges he would have heard different tones.
3-Same as if he had picked in different positions, i.e. near the bridge to near or over the neck.
4-One should never use distortion when talking about tonal qualities of different string gauges.
If he had talked less he could have done all of those test.
FWIW - I have tried a number of string gauges. I will add the same string gauge from the same company will sound different on different guitars. As I said different pickups, picks, and picking all change the sound. I use 12s flat wounds down to 8 round wounds on my guitars.
YMMV
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While long and wordy, there's just way too many variables that affect the tone. One of the glaringly big omissions was that he only used the strings from the same brand, DiAddario. I think there may have been a noticeable difference in the tone between different brands vs different gauges from the same company.
Honestly, I didn't hear any noticeable tone differences in any of the sets other than it was obviously harder to bend those heavier gauges. One of the most noticeable things was trying to grab that high note bend on the heavier gauge strings. It was painful to listen.... it reminded me of the devil's guitar player, Jack Butler trying to get that high note.....
It comes down to one thing. How it feels to the player and what you like. I prefer for electric the Ernie Ball Super Slinky .009 set. They have a good working life, sound good, especially when new, have a good comfortable feel, and bend nicely. For my acoustics, I do like a heavier gauge because the strings make a bigger tone difference on the acoustic than they do on the electric. I'm not as consistant with the brand of acoustic strings as I am with my choice in electric strings. They vary in brand and starting gauge is either .010 or .011. I'm not as interested in the bend-ability factor of the acoustic strings as I am in the overall tone. For a long time I was using EBSS .009s on my acoustic but it really didn't deliver the acoustic tone like I wanted so I've moved to heavier strings. I don't bend, I strum. Higher action, but it sounds good.
You can find my music at: www.herbhartley.com Add nothing that adds nothing to the music. You can make excuses or you can make progress but not both.
The magic you are looking for is in the work you are avoiding.
I didn’t watch it because I’m not a guitarist. But if there was a video on trumpet or sax or flute equipment, I’m in. Problem is, with ten pro horn players, you would get twelve opinions, so I feel for you guys.
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Sax players talk about mouthpieces and reeds a lot. I have a mouthpiece (Link 8* with a NY chamber) that gives me a good rock/blues tone. It's the second pro mouthpiece I've ever owned. I use regular Rico (orange box) reeds. I've been using them before they changed their name to Rico. I've tried others, but the slight change in tone doesn't justify the large increase in price.
On to the gutar:
I use 9s on my Parker, as that is what was recommended by the specs for that model. I don't see enough advantage of heavier strings to change. I'd work harder for very little difference.
Pickups, IMO, are the primary source of tone, and I had the guitar made in the custom shop with Duncan P-Rails, so I can get P-90, Rail, Series Humbucker, and Parallel Humbucker tones. Plus, there is a piezo under the bridge that I can use to mix with the mag pickup tones.
Tone is overrated:
Rather than work on the nuances of tone, I work on the nuances of expression. I think that is much more important. Things like intonation variations, dynamics, individual note attack/sustain, variations in timing, phrasing, vibrato, ornaments, and so on.
While we all think (and should think) that tone is important, it's not. If it was Dr. John, Miley Cyrus, John Lennon, Stevie Nicks and so many others wouldn't be stars. But they express themselves in a way that resonates with their target audience.
The two most famous Jazz Tenor Saxophonists of all-time are probably Stan Getz and John Coltrane. Their tone is as different as night and day.
Is Jimi Hendrix's tone better than Jeff Beck? Terry Kath? Eric Clapton? Dimebag? David Gilmour? Billy Gibbons? Steve Howe? Robert Fripp? BB, Freddy or Albert King? Slash? Johnny Winter? Carlos Santana? (I could go on). On which guitar/pedal/amp combo?
IMO, as long as your tone is in the ballpark for the genre you are playing, more time spent on improving your expressiveness would pay greater dividends to you and your audience.
Rick Beato and his bubba's did a similar thing a few years ago. I had similar issues with his analysis as others here. Nobody seems to be able to play guitar CLEANLY when testing other FX OR, as in this example, string guages anymore - no OD'S, NO AMP DISTORTION, etc.
Larry
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For an electric guitar in a rock setting, it's really hard to appreciate the character of string sound. Just too many other things upstream and downstream from the strings that are more sonically impactful. If you're going to experiment with string gauge, pay attention to neck relief. Too little relief WILL change the character of how your strings sound by limiting string vibration. Too much relief will sound nice, but mess with playability (for me), action and intonation. Intonation is not hard to measure, and easy to dial in with a little experience. Never adjust string height or intonation without at least checking relief. Also, if you're moving up in gauge, don't forget the nut slot width. Most electrics are slotted for lighter gauges, so heavier strings may bind if the slots are not widened. You'll usually hear this as a "tink" coming from the nut when tuning...
The above is an oversimplified opinion.
If you're a Stevie Ray Vaughan devotee, ignore all of this.
Last edited by DC Ron; 06/30/2511:21 AM.
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This all reminds me of the sounds produced by tube amps using different brands of tubes. Also, how all the purest who will only play through tube amps put a transistor effects pedal first thing in the signal chain...
Obviously, different brands, sizes, and types of materials, as well as how they are wound (for example, flat wound), guitar setup, the amount of string bending, the style of music played, and several other factors all affect sound.
One must be comfortable playing the guitar, which is a significant factor in considering string choice. If I could only get 14-gauge strings, no matter how good they sounded, I would stop playing guitar.
Sometimes, Rick and other people on the internet just need something to talk about, no matter how meaningless it is.
Billy
“Amazing! I’ll be working with Jaco Pastorius, Charlie Parker, Art Tatum, and Buddy Rich, and you’re telling me it’s not that great of a gig? “Well…” Saint Peter, hesitated, “God’s got this girlfriend who thinks she can sing…”
This all reminds me of the sounds produced by tube amps using different brands of tubes. Also, how all the purest who will only play through tube amps put a transistor effects pedal first thing in the signal chain...
Obviously, different brands, sizes, and types of materials, as well as how they are wound (for example, flat wound), guitar setup, the amount of string bending, the style of music played, and several other factors all affect sound.
One must be comfortable playing the guitar, which is a significant factor in considering string choice. If I could only get 14-gauge strings, no matter how good they sounded, I would stop playing guitar.
Sometimes, Rick and other people on the internet just need something to talk about, no matter how meaningless it is.
Billy
Ok…
In 1973, I wrote the dullest 52 page paper on musical instrument strings covering most of these topics while working on a minor in Physics. A part time job in a music store gave me access to strings and then there was a physics lab for me to play in. I sold a copy to a string company that no longer exists but I don’t know if the paper is in a file cabinet in any of the successor companies. I went through a major paper purge before getting married in ‘79 including a hundred+ cases of work product on the 1976 rewrite of the Copyright law being hauled out of my basement. I don’t miss any of that.
Flexibility is the key to everything being discussed and neither commentator knows that it’s a factor. With electric instruments, the magnetic properties are also important.
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Look Ma! More MIDI 13: Country & Americana
Instrumental Studies Set 22: 2-Hand Piano Soloing - Rhythm Changes
MIDI SuperTracks Set 44: Jazz Piano
Artist Performance Set 17: Songs with Vocals 7
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We've been hard at it to bring you the latest and greatest in this 9th installment of our popular XPro Styles PAK series! Included are 75 styles spanning the rock & pop, jazz, and country genres (25 styles each) that fans have come to expect, as well as 25 styles in this volume's wildcard genre: funk & R&B!
If you're itching to get a sneak peek at what's included in XPro Styles PAK 9, here is a small helping of what you can look forward to: Funky R&B Horns, Upbeat Celtic Rock, Jazz Fusion Salsa, Gentle Indie Folk, Cool '60s Soul, Funky '70s R&B, Smooth Jazz Hip Hop, Acoustic Rockabilly Swing, Funky Reggae Dub, Dreamy Retro Latin Jazz, Retro Soul-Rock Fusion, and much more!
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XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
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Band-in-a-Box® 2025 for Macs®: VST3 Plugin Support
Video: Band-in-a-Box® 2025 for Mac®: Using VST3 Plugins
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