The worst thing you can do to a Les Paul is coat the strings and fretboard with marshmallow cream. It will really slow you down because it’s really sticky.
Damn fellas play it even more until its not the worst thing. I guess if your gonna give up just get a Tele they sound like shit no matter who is playing. Except page he is always the exception. When asked why Hendrix didn't play a tele. He said they got 2 sounds good and bad.
@@richsackett3423 I don't think true musicians give it that much thought to be honest; Chris summed it up with "who knows, who cares"... life's too short. I guess it never kept Hendrix, Lennon or Peter Green awake at night. It's something you think about when you've got too much time on your hands. Maybe players stress over it when they're learning...
@@LennyJohnson5 Funny, no other areas of art or expertise think ignorance concerning their tools is desirable, or indeed preferable. I've seen none of the three players you mention playing just any old shit instruments. Guess they must have cared. It's something I think about because I build guitars.
LMAO now this man speaks truth. Whos cares if someone top wraps or not. I top wrap all my Gibsons. Les pauls, sg and my es 335td. The best thing to do to a LP is a bigsby
I remember the first time I top wrapped... I was so enthused to have found a better sound and feel out of my guitar, and at no cost whatsoever. Glorious.
@@patricksommer3971 He used his telecaster on most of the early zep albums, notably on the stairway solo and all of Zep 1. He only used his Les Paul live, but people heard the recordings, and went out and bought Les Pauls because they thought he used his Les Paul on the recordings
Chris, your explanation is as artful and articulate as your playing. I’m a Page, Beck, Gibbons, Green (you didn’t cite him, but RIP) fan, and had never heard of top-wrapping. Thanks.
I find that everything that is done with feeling or by feel is a very personal thing. Guitars, musical instruments, bicycles, hot rods, motorcycles, and LIVING YOUR LIFE. If it feels good to YOU If it sounds good to YOU If that makes YOU play more Then that is what YOU should do. YOU! Great players do a bunch of different things but they are NOT you. What they do may not FEEL good to you try it then make it your own or not. At the end of it all WE all find OUR own way. Do YOU!
No. You can test for which way gives you maximum sustain, and Gibson should have done that already and issued a statement about it (but I doubt they ever have)
I remember in a interview from the mid 1970's with Bob Glidden the drag racer, he said "This how I do it but don't do it because I say so, learn to think for yourself"
I’ve never really heard too much of a sonic difference between sting through or top wrapping but where I’ve noticed a difference is in its playability. Top wrapping for me feels better in string tension making it feel more comfortable to play and by that changes the sound for me. Anyways, that where I come from
Absolutely agree. To my ear, acoustically, strings seem to ring slightly more with a bit more open sound, topwrapped - but plugged in I don't think there's any difference. The most important thing is the slinkier feel which makes it easier to play and in turn I play better with more control. My opinion.
Top wrapping meaning ? I ask because I recently got a 2019 SG jr but after reading all kinds of comments ordered in the 2020 that has this lightning bar bridge. I’m I making a mistake ?
@@benallmark9671 Personally speakung Ben, the type of metal used to make the bridge actually makes the biggest difference . Go for alumunium only because I have noticed Gibson using heavy-weight metal for bridges.
The scientific breakdown of how top rapping actually increases string tension just goes to show how your brain can really trick you into believing something that isn't correct, even the most skilled guitarists. Our brains are really amazing at tricking us with things like this.
@@PaulMcCaffreyfmac I watched the Dazed And Confused live video from The Song Remains The Same, it definitely won that fight. Within two minutes the strings on the bow were hanging off everywhere. Those things aren't cheap.
Gonna give a shoutout to Johan Segborn's channel as it was his video that made me decide to top-wrap my Epi LP. His test videos are always done with a real sense of scientific rigour, with all possible variables removed to really just look at the differences in sound from what he's testing. His top-wrap video had the same R8 through the same amp (a dimed Marshall) mic'd the same way and completely left untouched for both tests, and with a new set of strings for both tests too. There's still clearly a difference in sound. It's not that I think one was better than the other, but I could definitely hear a difference and I preferred the top-wrap sound so that's what I've done ever since!
Would it make the difference between 010 and 09 ;-? id love to put 010s but they are too stiff for me, would top wrapping make that difference in playability so i can play 010 ?
Being that I’m a touch older - here’s what happened at Gibson - the person they hired to do the illustrations in the catalog simply looked at the previous year and because it was a wraparound tailpiece, they simply assumed that that’s how you would do it for the next year - it was actually 100% a mistake and was corrected the year after - as soon as they put out the next catalog - so the whole thing about wraparound being affirmed in the Gibson catalog is simply the mistake of an illustrator
Also before the tune o matic bridge the stop tails were always wraparound so when old school wrap arounders strung up the new tune o mattic the naturally wrapped it over thinking its how it should be done. I top wrap because it puts direct downward force on the bridge and no chance of the string touching the bridge itself before it breaks over the actual saddle. Strings feel somewhat slinkier to me and it looks cooler. You can slam the stop tail as well no matter how high or low the bridge is. Put old string balls on your strings before you go through the stoptail if your gonna top wrap though.
That's an awesome piece of information.... I have more info about Les Paul him self and the SG..... Les Paul loved and designed the SG but Gibson made the mistake of releasing it weeks before his divorce to mary ford... It was cheaper for him to disavow all knowledge and collaboration than it was to pay Mary Ford royalties on the design of the sg... Mary didn't settle for less at all she took him for all he was worth
@@keithadams812 also he wanted a neck through design like the firebird. The original Sg was the double cut special in late 58 59. Called the SG. Its why the call the SG the sg after 63
I think the effect is to lengthen the string under tension. That means the strings bend easier, because you have a string willing to stretch the same percentage, which is a larger distance since the string is "longer".
@@dragonpundit.6443 But the total string length is longer by the width of tail piece - so say another 12mm. When a string is bent it will stretch across its entire length from end to end. The angle will reduce friction and downward pressure on the bridge which will help with bends and prevent long term damage to the bridge and reduce string breakages.
@@philberry1981 That assumes the strings actually move across the bridge and nut under normal string bending. I believe there is more contact and less angle so it effects something, mostly fewer breaks but the idea your strings are always moving across the connection points after leaving the tuners or tailpiece, is suspect.
@@dragonpundit.6443 It’s not a lot of movement granted but that’s why they make nut juice etc to help stabilise tuning. Try plucking the string between the nut and tuner peg then bend the string and do the same - the pitch goes up - hence that section of string is now tighter and will have therefore moved fractionally.
I wondered if you were gona get to the extra ball end, to me that is the only way to do it. I switched back to just going trough because I didn't want to mark up my stop bar. after just a year it was marked pretty badly. I couldn't feel a real difference anyway so I just went back to through the stop bar. I think even if it is a mental thing, it still helps because thats all any of it really is. My feelings on tone and guitars and music is always evolving. I can look back even a year ago and see mistakes and misconceptions I had about everything. That is what I love about music, it never gets old and every time you think you know what's what, something comes along and smacks you right in the face and shows you that there is still plenty to learn at any level. I will never stop being a student of music, I love it. Great video and awesome playing like always.
Amazing to get the view out of that window - I had always imagined you were in a cottage deep in the Welsh countryside gazing out at the mountains. Magic playing as always! Pob hywl!
I'm truly AMAZED. I've never thought that this could make such a great impact, the tone is SO much better with top loaded strigs, at least for me. Thanks for the insight!!
It makes more sense to me that resonance would be transferred to the body from the bridge not the tailpiece. I go through and raise the tailpiece just enough to prevent the strings leaning on the back of the bridge (nowhere near as high as in your picture) and hastening its ultimate sagging. Preventing bridge collapse seems the only good reason to do it.
Thank you. I’ve always found the TH-camr tag a little strange although by definition, as someone who uploads to TH-cam once a week, I guess I’m a TH-camr 🤷🏻♂️ At the same time, I’ve been gigging relentlessly since I was about 15 and represent various companies (Fender/Yamaha/Line 6 etc) internationally. I just think of TH-cam as another platform to reach people with your music 🙂
@@ChrisBuckGuitar Wow dude I totally didn't expect you to respond at all, let alone so quickly. I'm play relentlessly as well. Gigging constantly but I've been wanting to spread my wings into other areas to capitalize on my passion. Just saving for a camera 🤘😂
@@big_bicep_bill7594After having some success with the 1935 single-coil "bar" pickup and later the modified single-coil "Charlie Christian" pickup, in 1946, an improved and much simpler, smaller and lighter design designated P-90 became Gibson's flagsihp pickup. Like the bar and Charlie Chritian pickups, they, too, are single-coil and were installed in virtually every Gibson electric guitar until 1957 when they were joined by the dual-coil PAF (patent appied for) "Humbucker" (which sucessfuly "bucked the hum" of a single-coil) pickup which was the "preferred" (but not by me) deluxe pickup and was installed in all of the higher-end Gibson electrics. The original Juniors, Specials and ES-330s retained P-90s, but all others now had Humbuckers.
Before the internet, there was a lotta staying up all night testing these theories with different string sets, spring tensions on floating bridges, etc. Thanks to channels like these where the info can come to light in a faster and more credible level with actual footage of what the greats do with their guitars.
Well as long as he isnt pushing climate change is man's fault then im ok cause Our sun has way more to do with it than the UNs and liberal lefts bullshit agenda lies. I agree there is climate change I've seen the reports and who and how all the "facts " That get pushed are far from facts manipulated data manipulated surveys to say 97% of scientist agree is bullshit. Canada's climate guru woman is a lying fraud that uses her own false data and research as proof. It was proven wrong she even got in hot water over it yet still using it as if its valid. All lies. The truth mainly the sun. The berkland currents the ocean itself. Its normal earth cycles. Will it be good for us meh maybe not maybe nothing much at all. Depends on our sun our weaking magnetic fields. So stop buying MSM climate bullshit they are trying to make money.
@@plaga9_ioc954 cause he was a great president like Trump is now. Why would you allow that to bother you. Get your leftist mental disorder under control.
Nice breakdown. Either configuration does not appear to affect sustain considerably. I could see where tension could feel a bit lower. However, the one thing that people ALWAYS neglect to mention is that if your tension is lower when you bend, it just means that you have to bend FURTHER. Don't believe me? Try Silk & Steel strings on an acoustic. Those things are so slinky that you can bend the strings right off the fret board, but you'll only get about a half step bend when you do. What does this mean? Well as Joe B. put it, you get a little bit of buffering when you dig in. You won't bend your strings out of pitch too far if you hit them hard enough to deflect them. Also, you should see less sensitivity to detuning when it comes to the pressure that you apply to hold down the sting. On the other hand, your vibratos will require larger movements, which could be difficult if you like very fast vibratos. Finally, your bends will have to bend farther to hit the same note.
More contact and more resonance would mean LESS sustain. Energy goes into the guitar, and some of it and very slightly heats up the wood. If you look at Les Paul's original experiments, he got the most sustain with least resonance, as you'd expect.
7:30 The fact that top-wrapped strings produce more tension when bent to the same position also means that you don't NEED to bend the strings as much in order to produce the desired higher pitches, hence making it easier overall to play. All makes sense. A great video and playing, please keep it up!
No. In the video mentioned, Dylan compares how far you have to bend a string to reach a full step up. The top wrapped strings needed to be bent further with greater force to reach the same pitch. That were the findings of his video, i'd love for someone to repeat the test to see if it can be corroborated as the testing methodology could probably be improved. Certainly a fascinating question though, makes you wonder if there is also a difference between string through and top loader Tele's and stuff.
@@flakey414 yes. this is true. i top wrapped my les paul again and it's actually a bitch to play and i regret it. turns out it adds a lot more tension than i remembered.
That bit at 6:00 ish was pretty clever. I always knew the length of the string behind the nut/bridge made a difference, but never really thought to prove it the way you have.
I am surprised that Slash never used the top wrapping and his tailpiece is kept really hight to avoid an extreme angle.But still amazing sustain and tone.And he uses 11 48 half step down
I love your analytical and informative approach in these videos! The angle made by the string as it passes over the bridge determines the amount of force exerted onto the guitar body by the bridge. I think this downward force probably plays a larger part on the sound than the amount of tail piece area resting on the body. If you think about it, a guitar body with no strings will have a certain fundamental resonance and a set of overtones.
When you apply the force of the strings to the bridge, the fundamental body resonance and overtones will be pushed higher. The larger the downward force of the bridge on the body, the more the resonances will be moved higher in frequency. This is because you are increasing the body stiffness as you apply higher downward force. I don't know if you noticed or not, but the top wrapped examples you played had a slightly deeper, fuller sound, while the strung through examples had a much thinner sound. I think this is because the top wrapped examples were placing less force on the bridge and body, and therefore a lower fundamental resonance and overtones. This is the same effect I noticed when I performed acoustical research on Steinway Pianos in 1980 as an Acoustical Engineer at CBS. You were correct, that the tension in the string is the same no matter what the angle as it comes over the bridge, but the smaller the angle, the higher the downward force on the body - and this is what matters most. Let's take that to an extreme. If the angle between the bridge and the string were 90 degrees (flat string with no bend or angle), the downward force world be zero. I love your playing BTW!
Thanks mate, awesome vid.... bought a Yamaha SL500 that had been top-wrapped by the previous owner and had wondered about the pros and cons. Love your work. 👍
I used to think I absolutely needed to screw down my stop tail until I started to experiment. My findings were, each guitar is different. As of now none of my LP’s are screwed down. I hate the tight feel. I top wrap and bring the tail up until I find the feel and tone that works best for me and the guitar. I prefer a shallow angle between the bridge and tail. Feels like playing a wrap around bridge. Like a jr. Coupling is important, but you have plenty of it from the string tension alone. Experiment, you may find something you like in between much better.
I tried it out of curiosity. There was definitely an increase in resonance throughout the guitar, just like a one piece wraparound bridge. Bends were a little easier too.
I am new to the Gibson world being I acquired a 69 SG that needs work that I am doing. I never would have thought to even try top wrapping. Now I got something to try.
I wonder how many of those early Les Paul players top wrapped simply because that's how the guitar was setup when they bought it and never thought about stringing up differently.
In the early nineties I somewhere read an interview with a guitar tech, who said that players like Jimmy Page, Jeff Beck and Billy Gibbons originally did topwrap as a way to reduce chance of string breakage at the bridge. So maybe nothing about tone or playability, just about reliability...
As a guitar builder, for 38 years, that has heard a lot of arguments on the subject. Lots of people think that having the headstock angle at 17 degrees is important for tone because of the downward pressure it creates at the nut, yet don't want that at the bridge. Downward pressure at the bridge is extremely beneficial for tone in acoustic guitars. The downward pressure at the nut only causes tuning instability and broken headstocks, from the steep angle and the short grain it produces. I've made some Les Paul 's, with a 10 degree headstock angle and a wraparound bridge, like the 50's Jrs. and gold tops, only compensated for intonation. This is truly the best way to top wrap, cut out the ABR middleman, it worked for early Jeff Beck and his ox blood LP. I'm not even close to the guitar player you are, why I make guitars for a living, but I have a good ear for tone and this setup is incredible and never breaks strings. The tone is the best I've heard for LP's and I've had hundreds of 50's and 60's era Gibsons come trough my shop. I've wrapped the strings both ways for customers, with tune o matics and don't really hear a tone advantage to either, also just don't really like tune o mates bridges.
Another TH-camr, Robert Baker, did a video on this where he discovered that when he top wrapped his les paul the strings actually had more tension, which corroborates Dylan Talks Tone's results. Baker tried to figure out why and through speaking with a friend of his he may have discovered that it simply doesn't work the same on every les paul. I believe it was the angle at which the neck joins the body that determines whether or not it increases or decreases string tension when you top wrap.
I caught your solo in Paul David's video a couple of weeks back. I've now seen a couple of your videos. I'll just say, every solo you do is not just easy on the ears, but it's cool, swaggy even, it has boldness and character, and damn it, I'm going to try and replicate some of that.
Loved this one buddy. I personally top wrap both my LP’s. Why? Its basically because i use heavy 11/52’ strings and top wrapping definitely makes it easier for me to play and bend these chunkier strings. It 100% works for me. Plus it looks cooler and more rocknroll ha ha
I'd played Les Paul's for around twenty years before I tried top wrapping for the first time this year (first week of 2020), and I can say it definitely does make a difference. I'd say it makes the guitar feel a little slinkier, and to my ears, gives it a slightly fuller tone. I was a little concerned that the stings could pop out of the saddles when I'm going for those Gilmouresque bends but, so far so good. Haven't done it on all my LP's yet but I think I probably will. Haven't tried the double ball end thing yet.
Before I replaced my Dean's arrangement with a Babicz Full Contact bridge, I was top-wrapping with the string run through a loose ball end and it was just fine that way. Now with the Babicz I run with the tailpiece elevated to produce a modest breakover angle at the saddles; I don't see any reason to just crush the bridge into the top of the guitar (the point of the Babicz is that it rests directly on the body).
@@hubbsllc yes I always cut the ball ends off an old set and run my strings through the ball end then the stopbar to top wrap. It keeps your string end backed off the break over the tail peice cause if you dont that break over the back can cut into or break the string where its wound around the ball and over itself. That's w weak place the bend the string so use a loose ball on the string to back that ballend up away from the breakover of the tail peice. Hope that makes sense.
Thank you for your nice guitar playing and your TH-cam episodes :) If we want to set the tailpiece down to the wood without spacers, the strings sometimes hit the back edge of the ABR bridge as the Gibson neck angle is "big" on some of the Les Paul's. May be the main reason "top wrapping" was done in the old days.
Longer strings require more tension to bring up to tune. Strats, with 25-1/2" scale feel different than Les Pauls with 24-3/4" scale length because of the difference in string tension. Short Scale bass guitars is were you really notice the lighter tension of 30" or 28-1/2" scale length compared to standard 34" length.
That is so. But here's the truth: the longer the length behind the nut or the bridge, the less tension there seems to be on the fretboard. So if you get a Fender Strat vibrato block that is longer than usual and holds a greater length of string, the instrument tuned at pitch has a less tight feel than if the length of the strings in the block were very short.
The reason for wrapping the strings is in fact to get rid of the unwanted high tension behind the bridge.those bridges have a tenancy to collapse the arc due to high string tension leading to intonation problems.it also reduces the brake angle and slicks out the fret board making playing a more satifying experience,but saving the bridge was the initial reason.if anybody ever bothered to look under the tail piece once its screwed down,it actually doesn't touch the body at all.it is also arched to follow the radius.
I m lucky to have 2 Les Paul’s, and from the factory the 2016 58’ True Historic was not top wrapped, but the Collectors Choice No8 “The Beast” was. So I continue stringing both exactly as Gibson intended and with the same gauge strings on both I cannot tell any discernible difference in string tension.
The fact there is more tension on strings when top wrapped makes sense to me because you would then need less bend to increase by a tone. This would then give the impression that it is easier to play as you would need to bend the string less to reach the desired pitch. I have a 57 historic gold top and 10 - 46 strings, and for me it is almost too easy to play especially compared to my Strat and Telecasters. No top wrap needed.
I swore I could hear a difference in your examples. Then I converted your video to an audio file, chopped the examples out of it and have a friend play those to me at random, then we swithed. If our life depended on ot we could not hear a difference. It became nothing but simple guessing.
i have mine top wrapped too, and it could be true that it fells less resistent,easier to bend with elevens , even tens...cheers take care these awful days....
I'm deformed from years of playing a LP Custom three times week and most weekend nights. The thing was so heavy, my left shoulder is lower than the other AND my left arm is longer than the right. And I won't even talk about guitar nipple.
I think the term "tension" is misused here. The term "flexibility" is more appropriate. To have a particular gauge of string reach a particular pitch at a particular scale length - it MUST BE at a particular tension between the nut and bridge. Reducing the grip in the bridge peak and the nut frees up more length of string to be affected by stretching of notes. This gives more flex which SEEMS like less tension. Regarding increased sustain with more post contact: the less downward force on a bridge the less it transfers energy to the body, so the sustain benefit is a wash. Of course in the fog of war on stage none of this makes a nickel's difference! LOL!
Hi Chris, thanks so much for this video. I have a 1950 Gibson SG prototype with P90's that I has never played 'Right' to me. Almost sold it a few time, but by trying the Wrap Around, it's a different guitar . It all seems to be coming into place with this change, so thanks and stay safe.
Thomas Jefferson true, he did buy his #1 from joe already shaved down, but when he bought his #2 1959 les Paul he had that one shaved down to match his #1
An old guitarist told me to just raise the tail piece to lessen the take off angle - that's what the adjustments are for. I find that 10s feel like 9s when I raise the tail piece. Nice video.
Hello, Chris, great video. But may I tell you about an alternative method of my own? I, too, prefer the shallow angle of attack at the bridge on spacomatic-&-stoptail-equipped guitars. But I employ a different method. Rather than 'Top-Wrap', and rather than have stoptail studs with exposed threads, I simply add a normal hexagonal nut to each stud (or bolt - ie: nut & bolt). As luck would have it, the normal depth of an 8mm threaded nut is spot-on the right depth to achieve the correct string angle. Not does it look unsightly. The mod involves adding a nut to each stoptail stud before screwing them back into the guitar body, so that the stoptail is raised in relation to the guitar body and the bridge. Then just thread the strings through the stoptail in conventional fashion, and the angle of attack of the strings will be shallow as it needs to be at the bridge (no more, no less) and this shallower angle improves playability (considerably in my view) as discussed. As you have said, some players like to 'top-wrap' strings over the stoptail to achieve the effect (Jimmy Page being a prime advocate) but I feel that my mod is a better solution - if you don't like it, no problem, it is easy to go back to what you did before, but it does not risk the ragged wrappings at the ball-end of the strings doing damage to the stoptail or scratching your hand if you rest your hand there. Nor do you see the unsightly thread of the studs or have studs flapping about (not that string tension would allow that anyway). Meanwhile the studs are fully bolted down if sustain is your aim. I do this on ALL of my stoptail-equipped guitars, including my Revstar. The only problem I found, with my Epiphone custom, was its gold-plated hardware (as I could find only chrone-plated nuts for sale). Well, I obtain them in brass now (on e-bay) and the colour of brass against gold is almost a perfect match. To try this mod yourself you'll need to know what size the nuts are. The cost, on e-bay, is £4.89 for three brass nuts (inclusive of delivery, a couple of weeks). In Chrome, you can buy them almost anywhere. And no, I am not a seller. I just want folk to know that this method works. It is important to note that on far-eastern-made guitars (such as Epiphones, and Yamaha Revstars) stoptail studs are sized according to the metric system, which means the nuts are sized 'M8' (for 8 mm - in fact it is seven-point-eight-nine-something but they call it 8 for simplicity). On my Gibson I've used a slightly different method (a washer instead of a nut, as I don't know which USA imperial-sized nut would fit). I hope this is of interest and helpful to someone. Thanks again for the great videos...
@@thomasspencer8157 That's more of a personal preference thing; not only did the guitar come to him that way, but that was done in the 60's.... The B bender addition was done in the 90's-2000's. Page even admitted the Lp deluxe was therefor ruined.
It matters on electrics but accoustics more. Hard wood gonna be brighter softer wood darker. Use all the fancy names for the woods you want but it boils down to hard and soft dry and wet.
I saw it, I did it, as it just made sense to me, having more surface area of the string to transmit sound to the solid wood body, by a chunk of metal that is bolted to that solid wood body. Pretty simple thinking, but it appears I'm in good company with my thoughts. The Tune-O-Matic bridge is an OK design, but like many designs, is a compromise of requirements. Attempting to improve or change a designs end result is not a crime. Just as a different opinion is not a crime.....but sadly, many just will not let their ego allow for a different opinion. Chris presents thoughts nicely without bias. Now that IS a fact!
![[UNCUT] “บอสณวัฒน์” ลากไส้!! ใครหนุนหลัง "แม่ตั๊ก ป๋าเบียร์" I คนดังนั่งเคลียร์ I 30 ก.ย. 67](http://i.ytimg.com/vi/QlD7mU2KKRk/mqdefault.jpg)
The worst thing you can do to a Les Paul is coat the strings and fretboard with marshmallow cream. It will really slow you down because it’s really sticky.
Bwaaa...haaaa!!!! OH man...
Gotta try this on my bigsby 1959 sg
can confirm
Be gone
Satan
LOL!!
I don't think I've ever heard anyone so effortlessly melodic in their playing. Fantastic as ever, Chris.
Amen to that.
Keep listening, mike.
Michael Hudson except maybe George Harrison and Phil Keggi. But Chris is top notch!!
I couldn't agree more.
Enter Johnny marr
The worst is leaving it in an unlocked car. They tend to evaporate...
Ah yes, man made evaporation is a big problem these days.
@@everettlethem6747 Now thats funny.
LOL
Even worse is to leave it in a locked car when it's hot outside. You wouldn't want to do that with little children or dogs either
@@oskarileikos well that got dark.
I beg to differ. The absolute worst thing to do with a LP is let me play it.
I feel that pain too🤣🙉🥺
I finally had to sell mine for that same reason. 😂
Damn fellas play it even more until its not the worst thing. I guess if your gonna give up just get a Tele they sound like shit no matter who is playing. Except page he is always the exception. When asked why Hendrix didn't play a tele. He said they got 2 sounds good and bad.
The Rover - Hendrix used a Tele on some solos in the studio. Purple Haze is one. See, no whammy right?
#STOP IT! 🤣😂🤣😂🤣
“Who knows...who cares” excellent point
Just people who care about playing music.
@@richsackett3423 I don't think true musicians give it that much thought to be honest; Chris summed it up with "who knows, who cares"... life's too short. I guess it never kept Hendrix, Lennon or Peter Green awake at night. It's something you think about when you've got too much time on your hands. Maybe players stress over it when they're learning...
@@LennyJohnson5 Funny, no other areas of art or expertise think ignorance concerning their tools is desirable, or indeed preferable. I've seen none of the three players you mention playing just any old shit instruments. Guess they must have cared. It's something I think about because I build guitars.
Wankers will argue forever. Players will shut up n play yer guitars.
@@juanfichtl2011 Idiots on the internet will pontificate and bloviate, ultimately failing to have any interesting, useful or original ideas.
The worst thing you can do to a Les Paul?
- Fit it with a Floyd Rose.
came here from sammy g?
LMAO now this man speaks truth. Whos cares if someone top wraps or not. I top wrap all my Gibsons. Les pauls, sg and my es 335td.
The best thing to do to a LP is a bigsby
@@patrickrosington1174 No, the best thing to do is play your Les Paul everyday ;)
@@hotrodjones74 that is true!
Single cuts and floyd rose do not mix well
I remember the first time I top wrapped... I was so enthused to have found a better sound and feel out of my guitar, and at no cost whatsoever. Glorious.
Same I did it yesterday on my SG 61.
Lovely metallic harmonics also I went from 9s to 11s a combination of the two things is indeed Glorious.
@@greenfly1264 so it does make thicker strings more playable my friend ? id love to form 9s to 10s on my lp
That intro jam was sensational! Again.
Indeed...luscious
Chris, you deserve more recognition than you get for turning out such excellent content each week. Thanks, and keep it up 👏
Jimmy Page’s tele is probably the guitar that has sold the single most les pauls in history.
?
@@patricksommer3971 He used his telecaster on most of the early zep albums, notably on the stairway solo and all of Zep 1. He only used his Les Paul live, but people heard the recordings, and went out and bought Les Pauls because they thought he used his Les Paul on the recordings
@@jacobpullen6949 he used les paul in tons of recordings. Sure there was also a lot of tele, but from like 71 on most is LP
@@patricksommer3971 Yeah but all the early most famous stuff is tele
@@jacobpullen6949 ok, you've probably got a point
Chris, your explanation is as artful and articulate as your playing.
I’m a Page, Beck, Gibbons, Green (you didn’t cite him, but RIP) fan, and had never heard of top-wrapping.
Thanks.
you might have been in lockdown your whole life my friend...
The worst thing one could do to a Les Paul is to equip it with a Floyd Rose and EMG active pickups :-D
James Hetfield and many legends won't agree with you guitar hero ;)
Yeah take my money 💰😎😂
I find that everything that is done with feeling or by feel is a very personal thing. Guitars, musical instruments, bicycles, hot rods, motorcycles, and LIVING YOUR LIFE.
If it feels good to YOU
If it sounds good to YOU
If that makes YOU play more
Then that is what YOU should do. YOU!
Great players do a bunch of different things but they are NOT you. What they do may not FEEL good to you try it then make it your own or not. At the end of it all WE all find OUR own way. Do YOU!
No. You can test for which way gives you maximum sustain, and Gibson should have done that already and issued a statement about it (but I doubt they ever have)
I remember in a interview from the mid 1970's with Bob Glidden the drag racer, he said "This how I do it but don't do it because I say so, learn to think for yourself"
I’ve never really heard too much of a sonic difference between sting through or top wrapping but where I’ve noticed a difference is in its playability. Top wrapping for me feels better in string tension making it feel more comfortable to play and by that changes the sound for me. Anyways, that where I come from
Absolutely agree. To my ear, acoustically, strings seem to ring slightly more with a bit more open sound, topwrapped - but plugged in I don't think there's any difference. The most important thing is the slinkier feel which makes it easier to play and in turn I play better with more control. My opinion.
Top wrapping meaning ? I ask because I recently got a 2019 SG jr but after reading all kinds of comments ordered in the 2020 that has this lightning bar bridge. I’m I making a mistake ?
@@benallmark9671 Personally speakung Ben, the type of metal used to make the bridge actually makes the biggest difference . Go for alumunium only because I have noticed Gibson using heavy-weight metal for bridges.
and if dont have more sustain and is only playability, why you dont rise the tailpiece for looking less tension with the same angle of top wraping?
@@macauley70 i did it
The scientific breakdown of how top rapping actually increases string tension just goes to show how your brain can really trick you into believing something that isn't correct, even the most skilled guitarists. Our brains are really amazing at tricking us with things like this.
I wouldn't beat a 1959 LP with a violin bow night after night, but, hey, Page....
A Les Paul will always win that fight.
@Spike Elwood I saw Led Zep 3 times in 1969/70. The volin bow appeared every time and it was ALL Les Paul.
@@PaulMcCaffreyfmac I watched the Dazed And Confused live video from The Song Remains The Same, it definitely won that fight. Within two minutes the strings on the bow were hanging off everywhere. Those things aren't cheap.
@Spike Elwood In the Yardbirds maybe...
@Spike Elwood he only used telecaster with Led Zeppelin from September ‘68 to May ‘69
Superb episode of Friday Fretworks Chris. Eloquent and well researched.
That intro jam was amazing can't stop listening to it
Gonna give a shoutout to Johan Segborn's channel as it was his video that made me decide to top-wrap my Epi LP. His test videos are always done with a real sense of scientific rigour, with all possible variables removed to really just look at the differences in sound from what he's testing. His top-wrap video had the same R8 through the same amp (a dimed Marshall) mic'd the same way and completely left untouched for both tests, and with a new set of strings for both tests too. There's still clearly a difference in sound. It's not that I think one was better than the other, but I could definitely hear a difference and I preferred the top-wrap sound so that's what I've done ever since!
Johan is based. Coolest head in the guitar YT community.
Would it make the difference between 010 and 09 ;-? id love to put 010s but they are too stiff for me, would top wrapping make that difference in playability so i can play 010 ?
Being that I’m a touch older - here’s what happened at Gibson - the person they hired to do the illustrations in the catalog simply looked at the previous year and because it was a wraparound tailpiece, they simply assumed that that’s how you would do it for the next year - it was actually 100% a mistake and was corrected the year after - as soon as they put out the next catalog - so the whole thing about wraparound being affirmed in the Gibson catalog is simply the mistake of an illustrator
Interesting.
Wow! You live and learn!
Also before the tune o matic bridge the stop tails were always wraparound so when old school wrap arounders strung up the new tune o mattic the naturally wrapped it over thinking its how it should be done. I top wrap because it puts direct downward force on the bridge and no chance of the string touching the bridge itself before it breaks over the actual saddle. Strings feel somewhat slinkier to me and it looks cooler. You can slam the stop tail as well no matter how high or low the bridge is. Put old string balls on your strings before you go through the stoptail if your gonna top wrap though.
That's an awesome piece of information.... I have more info about Les Paul him self and the SG..... Les Paul loved and designed the SG but Gibson made the mistake of releasing it weeks before his divorce to mary ford... It was cheaper for him to disavow all knowledge and collaboration than it was to pay Mary Ford royalties on the design of the sg... Mary didn't settle for less at all she took him for all he was worth
@@keithadams812 also he wanted a neck through design like the firebird. The original Sg was the double cut special in late 58 59. Called the SG. Its why the call the SG the sg after 63
I think the effect is to lengthen the string under tension. That means the strings bend easier, because you have a string willing to stretch the same percentage, which is a larger distance since the string is "longer".
The scale is the exact same. It's the angle.
@@dragonpundit.6443 But the total string length is longer by the width of tail piece - so say another 12mm. When a string is bent it will stretch across its entire length from end to end. The angle will reduce friction and downward pressure on the bridge which will help with bends and prevent long term damage to the bridge and reduce string breakages.
@@philberry1981 That assumes the strings actually move across the bridge and nut under normal string bending. I believe there is more contact and less angle so it effects something, mostly fewer breaks but the idea your strings are always moving across the connection points after leaving the tuners or tailpiece, is suspect.
@@dragonpundit.6443 It’s not a lot of movement granted but that’s why they make nut juice etc to help stabilise tuning. Try plucking the string between the nut and tuner peg then bend the string and do the same - the pitch goes up - hence that section of string is now tighter and will have therefore moved fractionally.
@@philberry1981Nut juice is for girls!😂😂😂
independently of this video inwant to say: you have an amazing style of playing. You are now one of five YT-Guitarists i admire the most. Thanks!
Dude your playing is just amazing!! Your feel is divine!!
I wondered if you were gona get to the extra ball end, to me that is the only way to do it. I switched back to just going trough because I didn't want to mark up my stop bar. after just a year it was marked pretty badly. I couldn't feel a real difference anyway so I just went back to through the stop bar. I think even if it is a mental thing, it still helps because thats all any of it really is. My feelings on tone and guitars and music is always evolving. I can look back even a year ago and see mistakes and misconceptions I had about everything. That is what I love about music, it never gets old and every time you think you know what's what, something comes along and smacks you right in the face and shows you that there is still plenty to learn at any level. I will never stop being a student of music, I love it. Great video and awesome playing like always.
Amazing to get the view out of that window - I had always imagined you were in a cottage deep in the Welsh countryside gazing out at the mountains.
Magic playing as always! Pob hywl!
Haha. That was in France a few months back. My everyday view isn't quite as...French as that unfortunately!
I'm truly AMAZED. I've never thought that this could make such a great impact, the tone is SO much better with top loaded strigs, at least for me. Thanks for the insight!!
That kid is SIIIIKKKK! What a talent...his technique, flawless
Great post, Chris. A clear distinction. Top Wrapping has both cleaner tone and balanced EQ. I'll do the change on my LP.
“Who knows, who cares” 🙌 sounds great man
Epic ending. Brilliant conclusion and melody right after.
It makes more sense to me that resonance would be transferred to the body from the bridge not the tailpiece. I go through and raise the tailpiece just enough to prevent the strings leaning on the back of the bridge (nowhere near as high as in your picture) and hastening its ultimate sagging. Preventing bridge collapse seems the only good reason to do it.
For a TH-camr, this guy is beyond the standard. Imo, one of the best on the freakin' planet
Thank you. I’ve always found the TH-camr tag a little strange although by definition, as someone who uploads to TH-cam once a week, I guess I’m a TH-camr 🤷🏻♂️ At the same time, I’ve been gigging relentlessly since I was about 15 and represent various companies (Fender/Yamaha/Line 6 etc) internationally. I just think of TH-cam as another platform to reach people with your music 🙂
@@ChrisBuckGuitar Wow dude I totally didn't expect you to respond at all, let alone so quickly. I'm play relentlessly as well. Gigging constantly but I've been wanting to spread my wings into other areas to capitalize on my passion. Just saving for a camera 🤘😂
I thought for sure Chris was going to say “put in a pair of single coils”.
Um, that would be an improvement if they were good ones.
The first four years did have single coils, and they didn’t put humbuckers on the budget models when they did get them.
@@Daverotherham Of course they did. I have a '54 Goldtop with the sweetest P-90s in it. I should have been more specific, I was referring to "Bursts".
P90s?
@@big_bicep_bill7594After having some success with the 1935 single-coil "bar" pickup and later the modified single-coil "Charlie Christian" pickup, in 1946, an improved and much simpler, smaller and lighter design designated P-90 became Gibson's flagsihp pickup. Like the bar and Charlie Chritian pickups, they, too, are single-coil and were installed in virtually every Gibson electric guitar until 1957 when they were joined by the dual-coil PAF (patent appied for) "Humbucker" (which sucessfuly "bucked the hum" of a single-coil) pickup which was the "preferred" (but not by me) deluxe pickup and was installed in all of the higher-end Gibson electrics. The original Juniors, Specials and ES-330s retained P-90s, but all others now had Humbuckers.
Before the internet, there was a lotta staying up all night testing these theories with different string sets, spring tensions on floating bridges, etc. Thanks to channels like these where the info can come to light in a faster and more credible level with actual footage of what the greats do with their guitars.
If top wrapping makes me play like that intro, count me in! 😆
This is why I watch Chris. Nuclear proliferation, climate change, human rights......top wrapping. Beautiful
Haha! All the important issues covered...
Yea but why does he have Reagan wobble-head on the shelf..?
Well as long as he isnt pushing climate change is man's fault then im ok cause Our sun has way more to do with it than the UNs and liberal lefts bullshit agenda lies. I agree there is climate change I've seen the reports and who and how all the "facts " That get pushed are far from facts manipulated data manipulated surveys to say 97% of scientist agree is bullshit. Canada's climate guru woman is a lying fraud that uses her own false data and research as proof. It was proven wrong she even got in hot water over it yet still using it as if its valid. All lies. The truth mainly the sun. The berkland currents the ocean itself. Its normal earth cycles. Will it be good for us meh maybe not maybe nothing much at all. Depends on our sun our weaking magnetic fields. So stop buying MSM climate bullshit they are trying to make money.
@@plaga9_ioc954 cause he was a great president like Trump is now. Why would you allow that to bother you. Get your leftist mental disorder under control.
Wow you're stupid.
I really look forward to Friday Fretworks 👍👍 thanks Chris..
I loved the version of Bistro Fada at the end of the video. Nice sound.
Damn, that solo at the beginning was awesome.
Nice breakdown. Either configuration does not appear to affect sustain considerably. I could see where tension could feel a bit lower. However, the one thing that people ALWAYS neglect to mention is that if your tension is lower when you bend, it just means that you have to bend FURTHER. Don't believe me? Try Silk & Steel strings on an acoustic. Those things are so slinky that you can bend the strings right off the fret board, but you'll only get about a half step bend when you do.
What does this mean? Well as Joe B. put it, you get a little bit of buffering when you dig in. You won't bend your strings out of pitch too far if you hit them hard enough to deflect them. Also, you should see less sensitivity to detuning when it comes to the pressure that you apply to hold down the sting. On the other hand, your vibratos will require larger movements, which could be difficult if you like very fast vibratos. Finally, your bends will have to bend farther to hit the same note.
if you want less tension and bend better rise the tailpiece. problem solved
Fantastic Django reinhardt ending. I didn't expect a rock player do that. Thumbs up!
When I read the title and then saw Jimmy Page in the thumbnail I thought this would be about sanding the back of the neck to make it thinner!
Exactly what I thought
Don't think he sanded it. Believe Joe Walsh had it sanded before selling it to Page
Jimmy had it done by some company in cali on the first US tour
@@MrKimMarkus You are correct, good father. It was done here.
www.laysguitar.com/
@@Noseheros no Walsh did
Yep. Best guitarist on TH-cam. Friday fretworks is amazing!
More contact and more resonance would mean LESS sustain. Energy goes into the guitar, and some of it and very slightly heats up the wood. If you look at Les Paul's original experiments, he got the most sustain with least resonance, as you'd expect.
7:30 The fact that top-wrapped strings produce more tension when bent to the same position also means that you don't NEED to bend the strings as much in order to produce the desired higher pitches, hence making it easier overall to play. All makes sense. A great video and playing, please keep it up!
No. In the video mentioned, Dylan compares how far you have to bend a string to reach a full step up. The top wrapped strings needed to be bent further with greater force to reach the same pitch.
That were the findings of his video, i'd love for someone to repeat the test to see if it can be corroborated as the testing methodology could probably be improved. Certainly a fascinating question though, makes you wonder if there is also a difference between string through and top loader Tele's and stuff.
@@flakey414 yes. this is true. i top wrapped my les paul again and it's actually a bitch to play and i regret it. turns out it adds a lot more tension than i remembered.
yes that also applies to heavier strings.
That bit at 6:00 ish was pretty clever. I always knew the length of the string behind the nut/bridge made a difference, but never really thought to prove it the way you have.
Wow, I never thought there would be such a difference in the clarity to the tone. Top wrapped wins in my book.
Glad to see the channel subscribers growing quickly. Well done Chris!
Love the unbiased point of view and good info 👌
I am surprised that Slash never used the top wrapping and his tailpiece is kept really hight to avoid an extreme angle.But still amazing sustain and tone.And he uses 11 48 half step down
The geniuses of adam day😂
I love your analytical and informative approach in these videos!
The angle made by the string as it passes over the bridge determines the amount of force exerted onto the guitar body by the bridge. I think this downward force probably plays a larger part on the sound than the amount of tail piece area resting on the body.
If you think about it, a guitar body with no strings will have a certain fundamental resonance and a set of overtones.
When you apply the force of the strings to the bridge, the fundamental body resonance and overtones will be pushed higher. The larger the downward force of the bridge on the body, the more the resonances will be moved higher in frequency.
This is because you are increasing the body stiffness as you apply higher downward force.
I don't know if you noticed or not, but the top wrapped examples you played had a slightly deeper, fuller sound, while the strung through examples had a much thinner sound. I think this is because the top wrapped examples were placing less force on the bridge and body, and therefore a lower fundamental resonance and overtones.
This is the same effect I noticed when I performed acoustical research on Steinway Pianos in 1980 as an Acoustical Engineer at CBS.
You were correct, that the tension in the string is the same no matter what the angle as it comes over the bridge, but the smaller the angle, the higher the downward force on the body - and this is what matters most.
Let's take that to an extreme. If the angle between the bridge and the string were 90 degrees (flat string with no bend or angle), the downward force world be zero.
I love your playing BTW!
yep, what I was thinking. Excellent logic, reasoning, and common sense.
I thought this might involve a Floyd Rose. 😅
Thanks mate, awesome vid.... bought a Yamaha SL500 that had been top-wrapped by the previous owner and had wondered about the pros and cons. Love your work. 👍
I ordered a SL500 from Japan the other day, I don't know what to expect, how do like yours?
I used to think I absolutely needed to screw down my stop tail until I started to experiment. My findings were, each guitar is different. As of now none of my LP’s are screwed down. I hate the tight feel. I top wrap and bring the tail up until I find the feel and tone that works best for me and the guitar. I prefer a shallow angle between the bridge and tail. Feels like playing a wrap around bridge. Like a jr. Coupling is important, but you have plenty of it from the string tension alone. Experiment, you may find something you like in between much better.
May I say that your playing style is close David Gilmore? Man sonically you guys are the best.
I tried it out of curiosity. There was definitely an increase in resonance throughout the guitar, just like a one piece wraparound bridge. Bends were a little easier too.
I was taught this trick in the late '90's to help prevent string breaks.
I've always preferred the feel of top wrapping 🤷🏻♂️
I am new to the Gibson world being I acquired a 69 SG that needs work that I am doing. I never would have thought to even try top wrapping. Now I got something to try.
I wonder how many of those early Les Paul players top wrapped simply because that's how the guitar was setup when they bought it and never thought about stringing up differently.
Tico Tico at the end was a nice touch. I don't believe I've heard that song since I quit selling home organs in the mid-70s.
I'm trying to sell a kidney right now...trade for a Strat?........anyone?
In the early nineties I somewhere read an interview with a guitar tech, who said that players like Jimmy Page, Jeff Beck and Billy Gibbons originally did topwrap as a way to reduce chance of string breakage at the bridge. So maybe nothing about tone or playability, just about reliability...
As a guitar builder, for 38 years, that has heard a lot of arguments on the subject. Lots of people think that having the headstock angle at 17 degrees is important for tone because of the downward pressure it creates at the nut, yet don't want that at the bridge. Downward pressure at the bridge is extremely beneficial for tone in acoustic guitars. The downward pressure at the nut only causes tuning instability and broken headstocks, from the steep angle and the short grain it produces. I've made some Les Paul 's, with a 10 degree headstock angle and a wraparound bridge, like the 50's Jrs. and gold tops, only compensated for intonation. This is truly the best way to top wrap, cut out the ABR middleman, it worked for early Jeff Beck and his ox blood LP. I'm not even close to the guitar player you are, why I make guitars for a living, but I have a good ear for tone and this setup is incredible and never breaks strings. The tone is the best I've heard for LP's and I've had hundreds of 50's and 60's era Gibsons come trough my shop. I've wrapped the strings both ways for customers, with tune o matics and don't really hear a tone advantage to either, also just don't really like tune o mates bridges.
Another TH-camr, Robert Baker, did a video on this where he discovered that when he top wrapped his les paul the strings actually had more tension, which corroborates Dylan Talks Tone's results. Baker tried to figure out why and through speaking with a friend of his he may have discovered that it simply doesn't work the same on every les paul. I believe it was the angle at which the neck joins the body that determines whether or not it increases or decreases string tension when you top wrap.
I caught your solo in Paul David's video a couple of weeks back. I've now seen a couple of your videos. I'll just say, every solo you do is not just easy on the ears, but it's cool, swaggy even, it has boldness and character, and damn it, I'm going to try and replicate some of that.
Loved this one buddy. I personally top wrap both my LP’s. Why? Its basically because i use heavy 11/52’ strings and top wrapping definitely makes it easier for me to play and bend these chunkier strings. It 100% works for me. Plus it looks cooler and more rocknroll ha ha
Wow it’s acc amazing how much your videos cover. I was thinking the whole video, about that guy who tested the top wrap with a scale.
I'd played Les Paul's for around twenty years before I tried top wrapping for the first time this year (first week of 2020), and I can say it definitely does make a difference. I'd say it makes the guitar feel a little slinkier, and to my ears, gives it a slightly fuller tone. I was a little concerned that the stings could pop out of the saddles when I'm going for those Gilmouresque bends but, so far so good. Haven't done it on all my LP's yet but I think I probably will. Haven't tried the double ball end thing yet.
Before I replaced my Dean's arrangement with a Babicz Full Contact bridge, I was top-wrapping with the string run through a loose ball end and it was just fine that way. Now with the Babicz I run with the tailpiece elevated to produce a modest breakover angle at the saddles; I don't see any reason to just crush the bridge into the top of the guitar (the point of the Babicz is that it rests directly on the body).
@@hubbsllc yes I always cut the ball ends off an old set and run my strings through the ball end then the stopbar to top wrap. It keeps your string end backed off the break over the tail peice cause if you dont that break over the back can cut into or break the string where its wound around the ball and over itself. That's w weak place the bend the string so use a loose ball on the string to back that ballend up away from the breakover of the tail peice. Hope that makes sense.
@@stevegardiner8473 I wasn't talking about the Gibson Tune-O-Matic; I was talking about the Babicz bridge on my guitar.
Thank you for your nice guitar playing and your TH-cam episodes :)
If we want to set the tailpiece down to the wood without spacers, the strings sometimes hit the back edge of the ABR bridge as the Gibson neck angle is "big" on some of the Les Paul's. May be the main reason "top wrapping" was done in the old days.
Love the Django-esque outro!!
"Bistro Fada" by Stephane Wrembel
Thanks for educating me on something I knew nothing about. I see no reason for me to try top wrapping, but I appreciate knowing something about it.
Longer strings require more tension to bring up to tune.
Strats, with 25-1/2" scale feel different than Les Pauls with 24-3/4" scale length because of the difference in string tension.
Short Scale bass guitars is were you really notice the lighter tension of 30" or 28-1/2" scale length compared to standard 34" length.
That is so. But here's the truth: the longer the length behind the nut or the bridge, the less tension there seems to be on the fretboard.
So if you get a Fender Strat vibrato block that is longer than usual and holds a greater length of string, the instrument tuned at pitch has a less tight feel than if the length of the strings in the block were very short.
The reason for wrapping the strings is in fact to get rid of the unwanted high tension behind the bridge.those bridges have a tenancy to collapse the arc due to high string tension leading to intonation problems.it also reduces the brake angle and slicks out the fret board making playing a more satifying experience,but saving the bridge was the initial reason.if anybody ever bothered to look under the tail piece once its screwed down,it actually doesn't touch the body at all.it is also arched to follow the radius.
"The BEST thing you can do to a Les Paul?" Is to play 'Bistro Fada' like Chris Buck 😊
Some really nice playing in this video!
I m lucky to have 2 Les Paul’s, and from the factory the 2016 58’ True Historic was not top wrapped, but the Collectors Choice No8 “The Beast” was. So I continue stringing both exactly as Gibson intended and with the same gauge strings on both I cannot tell any discernible difference in string tension.
Jeepers. That playing at the end is lovely !!!
The fact there is more tension on strings when top wrapped makes sense to me because you would then need less bend to increase by a tone. This would then give the impression that it is easier to play as you would need to bend the string less to reach the desired pitch. I have a 57 historic gold top and 10 - 46 strings, and for me it is almost too easy to play especially compared to my Strat and Telecasters. No top wrap needed.
Thanks Chris for helping me understand my new “ Standard” !
I swore I could hear a difference in your examples. Then I converted your video to an audio file, chopped the examples out of it and have a friend play those to me at random, then we swithed. If our life depended on ot we could not hear a difference. It became nothing but simple guessing.
i have mine top wrapped too, and it could be true that it fells less resistent,easier to bend with elevens , even tens...cheers
take care these awful days....
This intro jam here deserves a YT guitar channel award
Your guitar tone is so satisfying, man.
I'm deformed from years of playing a LP Custom three times week and most weekend nights. The thing was so heavy, my left shoulder is lower than the other AND my left arm is longer than the right. And I won't even talk about guitar nipple.
Class action!! Those heavy Norlins were designed to kill people.
But I'm sure you looked cool while you were up there maiming yourself.
John Martyn famously blamed the loss of his leg on years of wearing a Les Paul...
Chryptopher It’s like strapping a small piano to your body. That’s why I bought a Strat.
@@AFaceintheCrowd01 The Les Paul studio I have from 2008 has a chambered body. It weighs the same as my 1991 strat.. :-).
TOP WRAP BRIDGE sounded very nice to my ear/ear-buds. Thanks
I think the term "tension" is misused here. The term "flexibility" is more appropriate. To have a particular gauge of string reach a particular pitch at a particular scale length - it MUST BE at a particular tension between the nut and bridge. Reducing the grip in the bridge peak and the nut frees up more length of string to be affected by stretching of notes. This gives more flex which SEEMS like less tension. Regarding increased sustain with more post contact: the less downward force on a bridge the less it transfers energy to the body, so the sustain benefit is a wash. Of course in the fog of war on stage none of this makes a nickel's difference! LOL!
Totally. Just posted something similar (but more long-winded!).
Hi Chris, thanks so much for this video. I have a 1950 Gibson SG prototype with P90's that I has never played 'Right' to me. Almost sold it a few time, but by trying the Wrap Around, it's a different guitar . It all seems to be coming into place with this change, so thanks and stay safe.
I thought this was going to be about Jimmy Page and Joe Walsh shaving their guitar necks
😂😂😂👍👍👍🎸 unbeleavable issn't.
No Bueno.
Thomas Jefferson true, he did buy his #1 from joe already shaved down, but when he bought his #2 1959 les Paul he had that one shaved down to match his #1
Doesn't that null and void the entire idea of buying a million dollar guitar?
Wizzle well, this was all taking place in the late 60s and early 70s when bursts were just considered “used guitars” I guess
An old guitarist told me to just raise the tail piece to lessen the take off angle - that's what the adjustments are for. I find that 10s feel like 9s when I raise the tail piece. Nice video.
How did Danny Kirwan do it? That's how I'll do it.
Or green
Hello, Chris, great video. But may I tell you about an alternative method of my own? I, too, prefer the shallow angle of attack at the bridge on spacomatic-&-stoptail-equipped guitars. But I employ a different method. Rather than 'Top-Wrap', and rather than have stoptail studs with exposed threads, I simply add a normal hexagonal nut to each stud (or bolt - ie: nut & bolt). As luck would have it, the normal depth of an 8mm threaded nut is spot-on the right depth to achieve the correct string angle. Not does it look unsightly. The mod involves adding a nut to each stoptail stud before screwing them back into the guitar body, so that the stoptail is raised in relation to the guitar body and the bridge. Then just thread the strings through the stoptail in conventional fashion, and the angle of attack of the strings will be shallow as it needs to be at the bridge (no more, no less) and this shallower angle improves playability (considerably in my view) as discussed. As you have said, some players like to 'top-wrap' strings over the stoptail to achieve the effect (Jimmy Page being a prime advocate) but I feel that my mod is a better solution - if you don't like it, no problem, it is easy to go back to what you did before, but it does not risk the ragged wrappings at the ball-end of the strings doing damage to the stoptail or scratching your hand if you rest your hand there. Nor do you see the unsightly thread of the studs or have studs flapping about (not that string tension would allow that anyway). Meanwhile the studs are fully bolted down if sustain is your aim. I do this on ALL of my stoptail-equipped guitars, including my Revstar. The only problem I found, with my Epiphone custom, was its gold-plated hardware (as I could find only chrone-plated nuts for sale). Well, I obtain them in brass now (on e-bay) and the colour of brass against gold is almost a perfect match. To try this mod yourself you'll need to know what size the nuts are. The cost, on e-bay, is £4.89 for three brass nuts (inclusive of delivery, a couple of weeks). In Chrome, you can buy them almost anywhere. And no, I am not a seller. I just want folk to know that this method works. It is important to note that on far-eastern-made guitars (such as Epiphones, and Yamaha Revstars) stoptail studs are sized according to the metric system, which means the nuts are sized 'M8' (for 8 mm - in fact it is seven-point-eight-nine-something but they call it 8 for simplicity). On my Gibson I've used a slightly different method (a washer instead of a nut, as I don't know which USA imperial-sized nut would fit). I hope this is of interest and helpful to someone. Thanks again for the great videos...
I thought this was going to be about neck shaving. But it still is about Les Pauls so im staying.
Always informative. Thanks, Chris.
Is lend it to Pete Townsend when he was in his 20's
yes
Beautiful playing nice chops Chris!
I expected this video to be about how Jimmy ruined one of his LP Deluxes by installing a B bender.
When you're jimmy page, you get to do anything you want to your guitars, even sanding down the neck of your '59
@@thomasspencer8157 That's more of a personal preference thing; not only did the guitar come to him that way, but that was done in the 60's.... The B bender addition was done in the 90's-2000's. Page even admitted the Lp deluxe was therefor ruined.
@@Sco3000 oh ok I thought he had done the b bender mod in the mid 70s
I'm old enough to remember seeing friends Gibsons with collapsed bridges. That's definitely the origin of top-wrapping.
Now that this is solved let's talk about tone wood. /s
It matters on electrics but accoustics more. Hard wood gonna be brighter softer wood darker. Use all the fancy names for the woods you want but it boils down to hard and soft dry and wet.
I saw it, I did it, as it just made sense to me, having more surface area of the string to transmit sound to the solid wood body, by a chunk of metal that is bolted to that solid wood body.
Pretty simple thinking, but it appears I'm in good company with my thoughts.
The Tune-O-Matic bridge is an OK design, but like many designs, is a compromise of requirements.
Attempting to improve or change a designs end result is not a crime. Just as a different opinion is not a crime.....but sadly, many just will not let their ego allow for a different opinion.
Chris presents thoughts nicely without bias. Now that IS a fact!
Top wrap does feel slinkier but looks ugly as hell, so I just went back to through wrapping
Damn, I think it looks cool.