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You raise an interesting point. Jazz Swings are called that for a reason - I suspect that almost all are bought for use on archtops, and I've never seen an archtop with locking tuners. And the traditional belief among old school guitar people is that jazz is (or at least, should be) only played on archtops. This is obvously nonsense, given the large number of us who play jazz on everything from cigar box banjos to lap steels. But I wonder if TI introduced the JS line either before locking tuners came along (which was 1983, if I remember correctly) or later but with no knowledge that they existed.
Originally Posted by s11141827
I don't think we need formal instructions, but breakage at the post is common enough with locking tuners to justify more attention. The admonition to avoid going beyond finger tight should be clearly printed on every container, piece of literature, website etc coming from a maker, vendor, or installer of locking tuners. String manufacturers, vendors etc should also state clearly on their packaging and literature whether or not they approve of lockers for their strings. If they do, they should offer guidance on how much to tighten the locking nuts.
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01-13-2023 01:34 PM
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Originally Posted by nevershouldhavesoldit
Django Reinhardt even played Jazz on a Steel String Acoustic Guitar especially with 3 Fingers after a fire accident paralyzed his last 2 on his left hand (it took 1.5 years to heal). Hopefully Thomastik Infeld could include instruction Manuals on how much to cut off when putting their Jazz Strings on Solid Body Electric Guitars and Flat Top Acoustic Guitars. Having colored silk wound around the ends actually helps protect them
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I think it does indeed....on one guitar (24.75 " scale tom bridge) the wound strings end up being so long , I could not get any silk in the tuners, barely left a tad of silk on the D ..... Originally Posted by s11141827
but a snip in the silk, leaving an inch or 2 certainly preserves the "wounding"from unravelling .
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Yeah that explains why the Low E String on my Jasmine S35 Snapped when I tried putting Thomastik JS110 Strings on it, cause the Wound Strings were super long. Hopefully they'll make a version for Solid Body Electric Guitars & Flattop Acoustic Guitars in the future. Including instructions should help & I think those will include a ruler showing you how much to cut off depending on the Guitar. Instructions would really help preserve the life of those strings because they're designed in a particular manner. Plectrum Bronze Strings can be thought of as the Acoustic Guitar version of Jazz Swing Strings & the Spectrum Bronze Strings can be thought of as the Acoustic Guitar version of Jazz Bebop Strings. You can't say Jazz on an Acoustic Guitar w/o Django Reinhardt.
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Really sharp cutters are all one needs though when snipping in the silk or wrapped wounding . Interestingly enough another user in another post was actually requesting longer Ti Jz swings E and A for an epiphone with compensator tail piece....One can also remove the locking part and wrap the string normally.If you keep them on then make sure light finger tight and no sharp edges , they should have a nice rounded edge, smooth to the touch....
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Just be aware that if you remove the locking pin on a Sperzel by unscrewing the knurled knob all the way, you can not put it back together. Once you reach the point of resistance when unscrewing it, you'll destroy the locking function if you forcibly back it out any further. I know this because I tried to order a new set of internals for one on which a tooth broke off the winding gear and jammed the tuner. I called Sperzel, and Ron told me that taking out the locking pin would ruin the mechanism. They're not rebuildable - once they're assembled, they're together for life. He said it shouldn't have broken and sent me a new one at no cost, even though it was original equipment on the guitar and long past any reasonable warranty period. Originally Posted by SOLR
So I wind as though there were no lock, but I then tighten the locking screw just enough to hold it in place. And I check the locks every time I play a guitar with them (I'm down to one now, so it's not a big deal). But I don't think I'll order any more guitars with lockers like that. There are different kinds of string locking mechanisms in tuners, some without pins. I had 2 PRS customs (a 22 and a 24) from the late '80s until about 2000 and I don't think I ever had a broken string on either one. It appears that PRS has changed their lockers, though - and I don't know how the current ones work.
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not Sperzel in my case. unscrews all the way out no problem and can be re inserted....thx for the info though...Schaller and some others have the removable pin.. One thing though is if you can't remove it then you can't smooth the end if there are sharp edges..hummm... Originally Posted by nevershouldhavesoldit
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BREAKING NEWS! [pun intended] A FLAT WOUND STRING THAT WAS NOT A THOMASTIK-INFELD FAILED ON STAGE TODAY! Originally Posted by wintermoon
A wound 0.020 D'Addario Chrome G broke in the middle of a tune while I was playing today's blues brunch. The core snapped about midway between the neck and bridge pickup positions on my LP, which has had only a neck pickup for years (I filled & finished the bridge rout). The wrap began to unwind but didn't break. It was my last new set of Chrome XLs, so they were at least 5 years old - I'd bought a few sets several years ago to try for blues on my Carvin, LP, and ESP 7s. I found them in my string box a few weeks ago when I had to do a little fret maintenance on the LP and removed all the strings. There was only one gig on the set.
This was an isolated string failure, plain and simple. I pick at or just below the neck PU, and the break was about 2" forward of the bridge. It happened in the middle of a solo, so I was probably bending a note on the G string when it failed. I'm not sure because the wrap seems to have held for at least a few notes before it starting stretching out. I felt the string go progressively more slack over a few bars, and my first thought (after realizing that I'd have to finish the solo on other strings and moving to the E for that) was that the tuning peg had failed because no string was hanging loose.
I expect to be compensated by D'Addario for this outrageous event that resulted from negligent design, manufacture and assembly of the string, as well as the dealer from whom I got them (who didn't tell me they could break), my bandmates (who incited me to play too hard for the strings), the audience (whose applause during the solo caused me to lose concentration and pick at the wrong angle), the club owner (who refused to reimburse me for the broken string), and the two women in the 3rd row who kept talked very loudly and distracted me while I was trying to restring rapidly so we could continue the set.
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Hi, I recently bought my first jazz box used (a nice korean Aria FA-71) and the shop did also a proper setup and put TI JS112 on it.
The first week I was in heaven, but then I was away for another week and when I got back to the guitar, the E and B string both looked and played like a rusty nail. I actually did not dislike the tone of these, but with this surface it's plain unplayable.
So here my questions:
- Is there any protective cleaning stuff you can apply here?
- Many of you said you replaced E and B with other strings (mainly Elixir). Which did you use? Acoustic or electric strings?
- Any idea about good replacements for flat 12s?
Sorry for reviving the old thread, but it seems the proper place to ask.
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I've been using these for a number of years. The top two are brass coated, but I change the 16 to a 17 and the 12 to a 14.
I tune in fourths, so I guess the tension would be like a 15 on top for an E. I use D'Addario plain steel strings without any problems
for the replacements. Good luck.
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Go to Musicians Friend and buy their Rogue bulk strings,you get 12 to a pack for $3.00 and you can replace your b and e strings as often as you like without much expense. Originally Posted by hannesmenzel
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I have an assortment of plain strings of varied gauges on hand, available to replace whatever string I need with whatever gauge I want to use. My needs are simple however, so there really aren't that many different gauges. To my ears, plain strings are plain strings. I'm not a fan of the TI brass-plated plains, but I have a few in the package because I don't install them, using the Rogue strings instead.
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I have four archtops with Thomastik Js113 strings, which I find excellent. The two flat strings lose their brass plating quickly but still sound great. When my son plays, whose hands sweat more than mine, the two flat strings get a bit crusty, and I clean them with a piece of Scotch-Brite scrub pad. They last a long time without losing intonation.
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Thanks everyone for the tips. As I said, it's my first jazz guitar, and I asked the shop to put JS112 on it because I read good things about them upfront. But that kind of rusty surface I never had on any of my other instruments strings and I'm not likely to start with customizing my string sets that way or scrub the strings on a daily basis.
Probably I'll try these D'Addadrio chromes next, but they might be to bright. Let's see.
Thank you all for your feedback, it's well appreciated.
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Most people that prefer Thomastik over Chromes is because of their cores.Thomastik are round core while Chromes are hex core which give them a stiffer feel.Also Thomastik is made from German nickel which also adds to it feeling more pliable.I tried Chromes again recently and liked them but they do not last nearly as long as Thomastik in my experience. Originally Posted by hannesmenzel
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May be not as easy on the fingers but I prefer the stiffer feel. (and no sniggering!) Originally Posted by nyc chaz
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