String gauge on your archtop?

[m_d]

There's a clear advantage to having higher gauge E and B for jazz guitar and I couldn't go back to a standard set. Thomastik-Infeld does that on all their sets. I like their Be Bop 12s a lot except for the plain G. I wonder if replacing the G (a .20 gauge) with a .21 gauge wound G (from their 13 set) would alter the balance too noticeably ? Or I could go for a D'Addario or Pyramid 11 set with a wound G and get the higher gauge E and B separately.

[gregunit]

11-50 Flats on a round core
Ibanez AF95

[Oscar67]

Depends on the guitar.
24.75” Gibson Custom ES335 VOS -> 0.10, mainly Ernie Ball and John Pearse
24.75” 1937 Gibson L7 -> 0.12 roundwounds, mainly TI
25” Eastman AR580 CE -> .012 roundwounds, mainly D’Addario band TI
25.5” Collings CL Jazz -> .011 roundwounds, mainly D’Addario and John Pearse

[markb]

D'Addario Chrome .010's with a .015 B and a .013 E. Works for me.

[RJVB]

I tried a 0.017" B string on my Loar since I've been getting some fret buzz on that string. Did too little to that issue and it was clearly the drop too much for me and curiously also for the guitar (sounded stiffled).

[AllanAllen]

Just went to chrome 12s on my Eastman 25" scale. Once I get the pickups sorted my by Broadway I'm going to put 12's on that too. It has Ernie Ball 11's now. Just what I had on hand after a string broke.

[jackalGreen]

TI GBs in 14 (used the packaged set as-is, without swapping any strings). First thing I did on my current guitar (Ibanez AF55, only guitar now since selling my high school 1974 SG Special twelve years ago or so).

Haven't adjusted the truss rod (could maybe use a quarter turn or so...) but seems just fine to me so far. (Edit: the stock nut seems to handle the 14s fine...considering I can barely play guitar, it's good enough for the likes of me, anyway!)

[Simon1234]

Thomastik 12-50 flats on both archtops.
Elixir Polywebs on Tele (11-49) and Strat (10-46).

[TAA]

I have a John Pearse 0.13” wound G nickel wound string set on my 1952 L-5C. The single pickup is a Pete Biltoft Charlie Christian replica, with only a volume control. Eventually I will replace the strings. Just curious…is there a preferred string set that should be considered? I do not want an unwound G string.

And….I’m still looking for an older Gibson amp, hopefully a GA-50. Right now I don’t have an amp.

Thanks!

Tom

[GuyBoden]

Thomastik 12-50 flats on my archtops, a Gibson L4C 1949 and a Guild Benedetto.

I bought a few packs of ten sets about 12 years ago, still some left.

Trefor Owen recommended them.

[TAA]

Guy,

Thanks!

Tom

[s11141827]

I use 9s w/ a Wound G made by Rouxinol (Rouxinol R-84 strings) for easier playability. These Hex Core Strings have a Flexible Wound G (16 gauge) because they're Compound wound, plus the windings have been glued on w/ super fast drying Super Glue (it's regular Super Glue mixed in w/ a Chemical Accelerator) to keep them from unraveling.The other thing I did was because I wanted a good sound on light strings w/ low action & no fret buzz, I converted the headstock from a solid headstock to a slotted headstock so that the strings would come in at a sharper angle over the nut (it's a Zero Glide nut). I got the slotted headstock idea from Martin Guitars alot of them that had Solid Headstocks have been converted to Slotted Headstock models by having the headstock re-done.

[TMA]

On my 1952 L5C I have John Pearse #JP 2920, nickel wound, 0.013” to 0.056”. So I voted 0.013” in the poll. The guy who installed my Pete Biltoft CC replica pickup suggested these. When it is time to re-string, I’ll be open to alternates.

On my 1973 Martin D-35 I have John Pearse Acoustic #600L, 0.012” to 0.053”. (These are described as phosphor bronze wound light gauge.) These were bought in 2002. (I have two new sets in the case.) I’m trying to sell this guitar. I bought it new in 1974 and it has never left the house. There is a Barcus Berry pickup on it. I seldom play it today.

FWIW I tune to my wife’s baby grand piano, to Middle C.

Tom

[s11141827]

I use these Magma GA100B80 80/20 Bronze Ultra-Light Gauge Acoustic Strings on my L-12 & to get the same volume as I got out of the heavier gauge strings (but w/ less tension & easier playability) I had to shave off the braces.

[s11141827]

Thomastik 12-50 flats on my archtops, a Gibson L4C 1949 and a Guild Benedetto.

I bought a few packs of ten sets about 12 years ago, still some left.

Trefor Owen recommended them.

I've switched over to Magma 9s because I've shaved off the braces from the top to compensate for the reduced tension.

[s11141827]

I modified one of my L-12 Acoustic Archtop Guitars to sound great w/ really light gauge strings & low action (Magma Ultra-Light 9-46 Strings) by shaving the frets down almost flush w/ the fretboard, basically an Acoustic Version of the Fretless Wonder.

[tomassplatch]

For the first time in my life I put 11-47 (Thomastik JS111) on an archtop - it was my very dark and bassy Gibson Super 400. I read somewhere that Kenny Burrel used 11s on his Super 400 so I wanted to try it. My first impression is that the sound is more lively, with a little bit more spark and brilliance. I like it a lot on this guitar.

[RJVB]

Spark and brilliance no kidding (I think I would call it jingle jangle...)

On such a big guitar you'll probably lose a considerable amount of power and thus sustain, though.

[tomassplatch]

Spark and brilliance no kidding (I think I would call it jingle jangle...)

On such a big guitar you'll probably lose a considerable amount of power and thus sustain, though.

Maybe you are right about "spark and brilliance" lol, this is very subjective. In terms of power and sustain, I don't feel that anything was lost. Overall, I am more happy with the feel that when I was using 12s or 13s on the same guitar. Which is very surprising to m, because this is the first time I use such thing strings on an arch too.

[redwater]

I had to shave off the braces.

I am curious how you did that on your L12?

[s11141827]

I use 10s & Thinner (in my case Magma GE140SF using the 20w 3rd String) because I have really high output pickups that limit the vibrational movement of really light gauge strings.

[s11141827]

I am curious how you did that on your L12?

I unglued the top, shaved the braces off, reglued the top, & put on the Magma GA100PB Ultra-Light Phosphor Bronze Wound Strings

[zephyrregent]

For the first time in my life I put 11-47 (Thomastik JS111) on an archtop - it was my very dark and bassy Gibson Super 400. I read somewhere that Kenny Burrel used 11s on his Super 400 so I wanted to try it. My first impression is that the sound is more lively, with a little bit more spark and brilliance. I like it a lot on this guitar.

I just put a set of Thomastik JS111's on my 1951 Zephyr Regent. It's the first time I've tried 11's, having used 12's about 50 years. What a diffrence a gauge makes! This guitar always had boomy bass - the 11's sound more balanced on my Henriksen 112ER and I don't have to turn down the low frequency near as much as with 12's, maybe 11 compared to 8 or 9 on the dial. The action feels much easier. Now it sounds great and it's playable again. The reason I tried the 11's was because I've been feeling some possible arm and hand strain and wanted to see if the 11's helped and if the tone changed. I've heard that 12's were recommended to drive the top of an archtop. It's very loud acoustically and you can feel a lot of resonance from it when playing. There may be some reduction in the resonation with the 11's.

[s11141827]

I use Ultra-Lights (9-46 for Acoustic Guitar by Magma) on my Acoustic Archtop Guitar because I've extended the scale length from 25.5 inches to 30.5 inches w/ a special 30.5 inch Conversion neck (I cut off the old neck & put on the 30.5 inch scale conversion neck)

[Oscar67]

Currently:

• Solidbodies: .010-.046, Ernie Ball or D’Ad
• Gretsch G6609 and PRS 594 Hollowbody II: .011-.048, roundwounds, plain G, D’Ad
• Eastman Romeo: .012-.052 roundwounds, wound G, D’Ad
• Ibanez GB10, Eastman 580CE: .012-.050, flatwounds, wound G, Thomastik
• Gibson L7: .012-.050, roundwounds, wound G, Thomastik