ilovefuzz.com

Seems worth a try at least

I dont think I will have a problem doing bends. i have played full step bends on .110 flats without much issue. my technique is terrble and violent though

Depending on your bridge, proper intonation isnt a thing thats always possible with a wound G string. The OP mentioned a strat, which should be fine, but Mastery users beware...a two saddle bridge needs all the strings on a saddle to be either wound or plain in order to intonate.

Well arent most guitar bridges designed with wound g-strings in mind? the mastery was made because jazzmasters werent meant to be played with "rock 'n roll" strings

qersty wrote:Well arent most guitar bridges designed with wound g-strings in mind? the mastery was made because jazzmasters werent meant to be played with "rock 'n roll" strings

Well....a six saddle bridge is designed such that it doesnt much matter, so that's moot. The most stark example is in vintage wraparound Gibson bridges. Back in the 50s-60s when wound G strings were more popular the looked like the bridge on top in this pic, with the G saddle positioned forward from the D string. Later when plain G string became more popular bridges were shifted to be like the lower one with the G saddle positioned back. In either case, you can see how the saddles for wound strings are grouped together, and how the ones for plan strings are together.

Oh yeah, those things are so perverse Do they have any benefit though? get more sustain cause of less parts?

qersty wrote:Oh yeah, those things are so perverse Do they have any benefit though? get more sustain cause of less parts?

Cant comment on that but i'm sure some people feel that there's more sustain, and some less. In general any type of bridge that doesnt have an adjustable saddle for each string is going to have intonation limits, depending on the string gauges you use.

coldbrightsunlight wrote:Seems worth a try at least

agreed, I ordered some a custom set from the link Pete posted.

Dr Tony Balls wrote:

qersty wrote:Well arent most guitar bridges designed with wound g-strings in mind? the mastery was made because jazzmasters werent meant to be played with "rock 'n roll" strings

Well....a six saddle bridge is designed such that it doesnt much matter, so that's moot. The most stark example is in vintage wraparound Gibson bridges. Back in the 50s-60s when wound G strings were more popular the looked like the bridge on top in this pic, with the G saddle positioned forward from the D string. Later when plain G string became more popular bridges were shifted to be like the lower one with the G saddle positioned back. In either case, you can see how the saddles for wound strings are grouped together, and how the ones for plan strings are together.

Dr Tony Balls wrote:

qersty wrote:Oh yeah, those things are so perverse Do they have any benefit though? get more sustain cause of less parts?

Cant comment on that but i'm sure some people feel that there's more sustain, and some less. In general any type of bridge that doesnt have an adjustable saddle for each string is going to have intonation limits, depending on the string gauges you use.

Yes this is all correct. The non-moving parts reduce losing any vibrations, also added mass. I've used the modern one in the picture before.. intonation was poopy.
But there are better options like the MojoAxe compensated craparound bridge, I have one of these on my precision kits guitar project and it intonate great even in drop A tuning...

VREEEEVROOOOOW wrote:

Oooo that's a cool gauge. Filing that away in my brain bank for next time I restring my Nelson.

Flats rule

Yeah I have not had flats on any of my guitars for ages...

I sometimes use 52 instead of 50. I find that works better when I drop the low e to c. I use flat-wound chromes exclusively for electric guitar. Other types of strings just feel off to me.

The custom Stringjoy set I just ordered is 11 - 15 - 20w - 30 - 40 - 52, so pretty close to those Chromes. I should check those out too.