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  #16  
Old 01-31-2022, 01:45 PM
L50EF15 L50EF15 is offline
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Quote:
Originally Posted by Steve DeRosa View Post
Same here - I use them on all my electrics, 12's/13's for the jazzboxes (and paradoxically, my Rick 360/6) and 10's/11's for the rock/country guitars...

FWIW most players today don't realize that the LP was Les' attempt to make a jazz guitar that would sustain evenly along the entire length of the neck, with more clarity than either the electrified comp boxes or the dedicated first generation through the primitive amplification of the day, and substantially less bulk/weight than his "Log" - and IME it functions admirably in its intended role; a little anecdote:

About ten years ago I was working on a musical project with a nonagenarian WW II vet who attended our local church - went to his house with my LP Studio '60s Tribute P-90 goldtop (strung with Chromes flatwound 10's) and Tech 21 Trademark 10 amp in hand...

After greeting me he apologized for not mentioning that he had a guitar, and would have been happy to let me use it - I learned in my teens that when a card-carrying AARP member says "I've got a guitar..." it's worth at least a look...

Goes to his bedroom closet, pulls out an early-60's Sano 1x12" combo and a small, very heavy, well-kept, familiar-looking brown case: contents of latter being a rare early '58 darkback goldtop w/PAF's, in solid excellent-minus condition (very slight greening on the lower bass bout, all plastic parts/binding 100% original and intact, minimal finish checking, original nickel hardware heavily oxidized but not pitted/rusted, no nicks/chips/buckle rash/neck wear, original narrow frets in good condition, original electronics in perfect working order/pickup covers never removed), with a whole bunch of period case candy (picks, pitch pipe, skinny Bobby Lee strap, and two unopened boxes of '50s New Brunswick Black Diamond strings) - worth a very conservative $70-80K then, and I didn't hesitate to advise him of its value...

He hadn't played it in well over 40 years, still had a set of those bridge-cable Black Diamonds on it so it was essentially unplayable...

Next visit I set it up and restrung it with a set of Chromes flatwound 12's (as it would have come from the factory in '58), plugged it into his Sano amp, checked to see that everything was functional (it was, and the neck was no worse for wear - a testament to the high construction/materials standards of the day), and handed it over to him...

The almost childlike expression of joy on his face was priceless - even with the extended hiatus and arthritis in his left hand, he was able to execute a few barre chords and jazz riffs with no issues...

He passed a couple weeks short of his 100th birthday - as of this writing the instrument remains in possession of his family, as a justly treasured heirloom...
That’s a great story. Glad he got to play his LP again and that the family still has it!

My LP is also a P90 Tribute, but in Honeyburst. It is indeed an excellent jazz guitar.
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  #17  
Old 02-02-2022, 09:30 PM
stringman5 stringman5 is offline
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Quote:
Originally Posted by Steve DeRosa View Post
Same here - I use them on all my electrics, 12's/13's for the jazzboxes (and paradoxically, my Rick 360/6) and 10's/11's for the rock/country guitars...

FWIW most players today don't realize that the LP was Les' attempt to make a jazz guitar that would sustain evenly along the entire length of the neck, with more clarity than either the electrified comp boxes or the dedicated first generation through the primitive amplification of the day, and substantially less bulk/weight than his "Log" - and IME it functions admirably in its intended role; a little anecdote:

About ten years ago I was working on a musical project with a nonagenarian WW II vet who attended our local church - went to his house with my LP Studio '60s Tribute P-90 goldtop (strung with Chromes flatwound 10's) and Tech 21 Trademark 10 amp in hand...

After greeting me he apologized for not mentioning that he had a guitar, and would have been happy to let me use it - I learned in my teens that when a card-carrying AARP member says "I've got a guitar..." it's worth at least a look...

Goes to his bedroom closet, pulls out an early-60's Sano 1x12" combo and a small, very heavy, well-kept, familiar-looking brown case: contents of latter being a rare early '58 darkback goldtop w/PAF's, in solid excellent-minus condition (very slight greening on the lower bass bout, all plastic parts/binding 100% original and intact, minimal finish checking, original nickel hardware heavily oxidized but not pitted/rusted, no nicks/chips/buckle rash/neck wear, original narrow frets in good condition, original electronics in perfect working order/pickup covers never removed), with a whole bunch of period case candy (picks, pitch pipe, skinny Bobby Lee strap, and two unopened boxes of '50s New Brunswick Black Diamond strings) - worth a very conservative $70-80K then, and I didn't hesitate to advise him of its value...

He hadn't played it in well over 40 years, still had a set of those bridge-cable Black Diamonds on it so it was essentially unplayable...

Next visit I set it up and restrung it with a set of Chromes flatwound 12's (as it would have come from the factory in '58), plugged it into his Sano amp, checked to see that everything was functional (it was, and the neck was no worse for wear - a testament to the high construction/materials standards of the day), and handed it over to him...

The almost childlike expression of joy on his face was priceless - even with the extended hiatus and arthritis in his left hand, he was able to execute a few barre chords and jazz riffs with no issues...

He passed a couple weeks short of his 100th birthday - as of this writing the instrument remains in possession of his family, as a justly treasured heirloom...
Love this story, Steve! Thanks for sharing.
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  #18  
Old 02-05-2022, 08:45 AM
zcregle1 zcregle1 is offline
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Though new to owning and playing an archtop, I have bounced between two sets, daddario chrome 11s which are flatwounds. They are smooth and easy to play but technically an electric guitar string. I have also used daddario half wounds which are round wound strings ground flat so they have a tone more like a normal round wound string but the feel of a flat wound.
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  #19  
Old 02-08-2022, 06:01 PM
coder coder is offline
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Default High quality flats for me.

Pyramid golds 12-52, and Thomastic infeld Jazz swings 12-50s

On archtops, I am usually after a mellow, Jazzy solo tone, even note volume between the strings, minimal string noise and good intonation. Flats do all that.

The action can be dialed in so low on an archtop, that the string tension does not matter all that much. I tend to roll off the higs on the tone conroll
anyways, I find the screechy brightness distracting, it is like a flashlight in my eye.
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  #20  
Old 02-09-2022, 07:37 AM
beatcomber beatcomber is offline
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A few days ago I received a marvelously well-played 1951 Gibson ES-125. I set it up with .012 Chromes (because The Music Emporium was sold out of .012 Thomastik Jazz Swing flatwounds). To my surprise (I use .011's on my other electrics) I'm finding the .012s a little too slinky on the ES-125.

I may go back to TME and buy a set of .013 Thomastiks.



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  #21  
Old 03-19-2022, 06:02 PM
beatcomber beatcomber is offline
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Quote:
Originally Posted by L50EF15 View Post
Generally true, but I use Chromes on everything, including (as relevant here) .013-056 on my Gibson L50 archtop. Wonderful sound. Mind you, Chromes make my Les Paul sound like an ES 175. My favorite strings.
Have you tried Thomastik Infeld Jazz Swing nickel flatwounds? Chromes are pretty good, but TI's are the "Cadillac" of flatwounds.

They're not cheap, but they can last a year or more, and their tone and feel are unequaled.
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  #22  
Old 03-19-2022, 07:11 PM
Sage Runner Sage Runner is offline
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I typically use DAdarrio Bronze Light 12’s. But much depends on responsiveness of the individual guitar. Experiment around. Lotta good suggestions from other folks here that will get ya started. Enjoy!!’
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  #23  
Old 09-09-2023, 08:44 PM
s11141827 s11141827 is offline
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Default Figured it out

I use Magma GA100PB Strings on my Gibson L5 because I've shaved the braces off. I had to remove the soundboard, shave off the braces, reglue the soundboard, & then put on the GA100PB Ultra-Light Strings (9, 11, 16, 26, 36, 46)

Last edited by s11141827; 09-10-2023 at 11:04 AM.
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  #24  
Old 09-16-2023, 06:09 PM
cgm440 cgm440 is offline
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Jonathon Stout wrote a great little article about strings for jazz guitar on his blog. Here's the link:

https://www.campusfive.com/swingguit...=1527786059161
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  #25  
Old 09-17-2023, 08:45 PM
CopyCat CopyCat is offline
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Quote:
Originally Posted by cgm440 View Post
Jonathon Stout wrote a great little article about strings for jazz guitar on his blog. Here's the link:

https://www.campusfive.com/swingguit...=1527786059161
Thank you for the head's up on this!
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  #26  
Old 09-18-2023, 04:46 AM
Don W Don W is offline
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Quote:
Originally Posted by beatcomber View Post
Have you tried Thomastik Infeld Jazz Swing nickel flatwounds? Chromes are pretty good, but TI's are the "Cadillac" of flatwounds.

They're not cheap, but they can last a year or more, and their tone and feel are unequaled.
I love the Thomastik Infeld Jazz Swing flat wounds. I use them on my 1964 reissue Epiphone elitist Casino...really nice.
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  #27  
Old 12-25-2023, 10:18 PM
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Quote:
Originally Posted by cgm440 View Post
Jonathon Stout wrote a great little article about strings for jazz guitar on his blog. Here's the link:

https://www.campusfive.com/swingguit...=1527786059161
Nice read. Thanks for sharing this.
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  #28  
Old 12-26-2023, 06:29 AM
RJVB RJVB is offline
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Quote:
Originally Posted by ssstewart View Post
i know silk steels dont have as long life,
That really depends on what they're wrapped with! Earthwood s&s (brass), GHS silk-and-bronze, TI Spectrum (some kind of brass?) and Plectrum, they're all about as long-lived as the non-silked versions. With the exception of the flat-wound Plectrum G string which gets fret wear like I've never seen with steel strings, esp. if you have a zero fret.

I use strings with the same tension profile as the Plectrum AC112 set on my archtop, but with a 13 1st and a 16 2nd to get a fuller/mellower sound.
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  #29  
Old 12-26-2023, 12:11 PM
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I use Martin Retro .13s on my 1939 Gibson L-4. On that guitar, I primarily play plectrum style and early jazz. When I had a 1950 Epi Triumph, I tried flatwounds on it. The sound was fine, but I much preferred the Retros. I have not tried flatwounds on the Gibson.
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  #30  
Old 12-26-2023, 03:59 PM
JoannMP JoannMP is offline
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Quote:
Originally Posted by mr. beaumont View Post
I wouldn't put flatwounds on an acoustic archtop, but that's just me.
I've got flatwounds (TI JS110 set) on my 1934 Gibson L-12, and the instrument is just so sweet-sounding - not quite as loud as the later 17-inch "Advanced" models, but certainly loud enough for my needs. The previous strings were roundwounds and the difference was discernable,

But I'm not so much of a purist that I would sneer at roundwounds! They're fine, just different.

I've got a couple sets of Martin retro Monels to try on one of my archtops the next time one needs strings, and a set of heavier TI George Benson strings to try on my 1953 L7, which I think can handle them.
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