Have you tried searching specific brands like Elixir, DR, Rotosound, Ernie Ball and so on?
Yeah. Ernie Ball only goes up to 11-48 on Stainless, and the lowest singles (for guitar) they have are 56s. I'm using a .65 bass string for my F# right now, the only problem with that is I have a ball end hanging out of the back of my guitar.
I'd like a 12-50 or 12-52 set ideally, so I can go down to drop F (or F standard) and jam to some Meshuggah. I know there's a lot of skeptics who say that it's not possible on a 25.5, but I assure you it is. The stainless steel adds a lot more bite to the sound, and it keeps it from getting so insanely muddy that you can't distinguish different chords. The only complaint I have at the moment is that my strings are a little bit looser than I want them to be.
30 might be optimal for the average .10's but you're going to be doing some massive stretches to form some chords. I find the 27'' scale a bit daunting sometimes.
I always figured if I was going to get a guitar with a longer scale length so I could tune lower, I would want extra frets to keep the fret spacing the same and at the same high keep all of the higher E standard notes.
have you tried this on another amp or speakers? it may be that your speaker cant put out the low frequency that your guitar is making. the guitar may be fine but the speaker just cant handle the lows.
Yup, I ran it through my friend Joe's Rivera Knucklehead Tre running into a Mesa 4x12. It's the string tension that's the issue. That being said, it sounded a little bit better through that though. 4x12 > 1x8. The low end is amazing though, even at like 2 things were rattling around in my house.
I'd love to go lower, but I don't want to have to file the nut down anymore than I had to for the .65. The next step up from that (in stainless steel) is a .70, and I have the feeling that will cause me a lot of problems around the bridge, nut, and tuners.
I use stainless steel strings because my fingers practically eat strings. I wash my hands often and wipe the strings down after every playing session, and that lets me a get about 4 months of play out of them instead of 2 weeks with regular strings. The only problem is I can't really find any companies that have extremely heavy gauge stainless strings. The .65 I'm using for my F# is a bass string, so I have a ball end hanging out of the back because it's too big for the ferrule. I put a piece of gaffers' tape over it and it works like a charm.
Alright guys, my strings arrived today, and I decided I wanted to find out if chords really do go to hell after G. The gauges I'm using are 11-65 on a 25.5'' scale RG7321.
I found the limit of chords on my guitar. The lowest I can go with every chord still sounding good and all my strings properly intonated is Drop F#. Much to my disdain I discovered that Meshuggah uses F tuning on my favorite song of theirs (Lethargica), so I went down one more semitone. At this point my strings were too loose even for my preference of having a little bit of slack. Playing the open F chord (F C F), I found it didn't really have any musical properties to it. Just sounds bad, probably due to a lack of tension which causes the C to start to drown out the low F.
Once I get myself a 27'' scale Ibanez 7 (if they ever decide to make one again) I'll probably be able to pull off Drop F tuning, but until then, it's Drop F# for me. I'm constricted both by scale length and the gauges of strings that EB sells in stainless sets.
Good news, managed to fix the bridge on my RG...intonation is still fine, (I was surprised.) Took a bit of work and patience, but also scraped a very noticeable gash in the paintwork from the bridge to the bridge pickup...yuck. Anyone got any ideas to cover that up? I'm an exceptionally poor painter, so I don't really want the hassle of that.
Teach him the chromatic scale. Then have him buy hoop spacers for the bottom rims of his toms, then teach him to tune chromatically using the mic on a chromatic tuner. I did it with my drums so that I have DBGECA from highest to lowest, which allows me to form power chords between d and G, b and E, g and C, & e and A. Sounds very good and beefy. He might have to tune differently though because of the number of drums and their sizes.
Alright, I need some quick advice here. I'm growing tired of drop A and B standard tuning, so I'm going to drop down to Drop F#. After thinking about it for a short while, it equates to me tuning the higher 6 strings to C# tuning, and putting a low F# for the drop (F# C# F#) chord (Yes?).
Assuming I use 9 - 52 gauge strings in B standard and Drop A on a 25.5 scale length (yes I know that seems really loose, I have thin long fingers), will an 11 - 65 set have about the same tension as what I'm used to?
The exact gauges would be: 11 (C#) 14 (G#) 18p (E) 28 (B) 38 (F#) 48 (C#) 65 (F#)
1. Mic cords into a mixing board 2. Overhead mics generally work best 3. Measure the diameter of the bass drum head with a tape measure and round to the nearest inch. 4. I don't know. You can tune drums, and you can tune guitars, but you can't tune cymbals. If they're coming out of a pack, you don't know what they're going to sound like. Sabian is a fairly recognizable name though, probably a 50/50 chance on tone.
Alright, being a drummer, I have a lot of experience with these issues. Over time, I've discovered that cymbals with thinner ridges (which produce the majority of the sound of the cymbal, as well as the shape of the bell) tend to be stronger, because there are less weak points in the cymbal where one ridge may have been lathed too deep.
Tell him to check out Zildjian's A Custom series projection crashes, I have two of them which I have been using for over a year and neither of them have failed me so far (and I hit pretty hard mind you).
Now, China cymbals are pretty much hit and miss (especially if they're hand hammered), because again, if the metal is too thin, that produces a weak point in the cymbal, which will eventually break after being hit repeatedly. Although I love the sound of china cymbals, I have stopped using them for the time being until I can find one that will be able to survive my playing. (I have completely annihilated two cheap Wuhans in the past year).
I like mine. For some reason it's the only non-Jem seven string with neck binding. The stock pickups are alright, they work if you like heavier metal, but if you want better cleans I advise you to invest in new pups.
Oh, and it should take you about a week to get used to the flatness of the wider neck.
I have a used Epiphone Iommi signature SG, and I'm going to end up putting it on eBay because I need some cash for another 7 string.
So here's the deal, it's used, has a total of 4 very minor dents/dings in unnoticeable places. I originally payed $525 for it, but Epiphone decided to drop the standard price (Musician's Friend, Guitar Center, ZZounds, etc) down to $500.
My initial thoughts were to put it up there starting at somewhere around $325-$350, because I'm trying to get $375 to $400 for it. So, I'm left wondering, what do you (the guitarists of UG) think it is worth?
Churches in General kind of annoy me. I'm a realist I guess, I see things how they are.
It's just a way for Americans to live their suburban lives, feeling free of sin and looking forward to getting into heaven. It makes them happier, gives them hope for something far beyond. ...At least that's how it is around here.
Isn't that what he's trying to do? Tune the 6th string to a pitch equal to the A string on a bass.
Yes, but the scale lengths are so different that an 84 would be too thick for the nut and the saddle on his guitar. A standard 34'' scale bass versus a 24.75'' or 25.5'' scale guitar will require very different string gauges for different notes.
I look at it this way, if I were to use a 9-52 set on my 7 string, then my high E is a .09, and my (high) B is a .11. So, if he tunes his 6 string down to Drop A, his high E becomes a high B, so it needs to be at least an .11 or .12 for adequate tension.
If you're sticking with 6-string then you will need some really heavy gauge strings. I never tried the D'Addario XL156 strings but the thickest string on it is 0.84 which is a little heavier than the standard A string on a bass guitar and I'm guessing that's your desired tuning.
Definitely get a guitar tech to check out the truss rod after putting these strings on.
....No. Just no. .84 would be like, playing in F# or tuning your guitar down to bass level. I'd use a 52-12 set or a 54-13 to get a nice amount of tension without it being so heavy that you can't tune up to standard.
If you don't like Iron Maiden, don't listen to them. Listen to what inspires you and makes you want to create music. Hell, I don't even listen to Maiden, Priest, or Megadeth because the singers' voices to me are somewhat of an annoyance.
I'm a drummer, and I'm not dumb. The main problem that a lot of drummers have is they don't want to stop playing after they start. I just sit there and wait between songs, and drink water or Mountain Dew. The thing that annoys me is when the other members of the band try to play my drums and fail miserably at producing something that sounds somewhat decent.
I've been wanting to do that, but I'm thinking I'm going to wait until I get another 7 to do so.
Right now I play in Drop A on my 7. The reason most guitarists tune down is because they either want a more brutal sound or they want to convey a different feel and emotion through their music than standard tuning provides.
yeah microwaving them may be a bad idea. I don't know if strat knobs are entirely plastic or have a metal connection inside of them to connect to the pots. If it is entirely plastic you may be able to microwave them for like 20-30 seconds, but I don't know what it would do.
It would warp them to hell. There's no point in microwaving them in the first place.