Metropoulos Forum

Just wondering, seeing as just about everything has been talked and debated but strings not so much, so im wondering if the 9-40 set Ed used is just another piece of the puzzle of putting it all together


It's the set Ed also used to endorse while at Ernie Ball.


But now he endorses/promotes/brands 9-42s and 9-46s



Does having a thinner Low E (40 vs 42s) and D string (15 vs 16s) make a difference tone wise?

the fenders and the EB's are really good strings. i used 5150's for years because they were pure nickle wrapped.
the fenders are very unique and i am sure played a part in his tone

So far, after completely stretching the shit out of them and wearing them out -guitar won't stayed tuned- they still aren't tarnished while intonation etc is of course impossible the " sound" of the strings is still great.... STILL getting artificial harmonics like a new set of ernieball's! I will change the strings tonight and put on a set of ernieball strings and not the product lifecycle. As I recall, the ernieballs and most strings get dirty looking for tons of playing after 20 hours or so....and then sound brittle no harmonics etc.... My XL150 aside from bring over-played 60-80hours? They still sound great!

They will feel different under your fingers, that's for sure. Keep in mind the other factors that take part in the feeling department - scale of the guitar, string height, bridge type and the pick. The sound? Personally I don't think I'll hear the difference between them and 46s, because there's lots of things going on in the wet department here - you got slapback echo, reverb. Maybe on A/B clips of a dry guitar I would, but wet and in the mix, I don't think so. That said, they are part of the chain, EVH claimed to have used them.

Those Ernie Balls were special. As were the orignal Snake Oil Brand before Dean changed the gauge. ( He went heavier) So much so I had to change in bridge intonation. Now they are just average strings not worth the extra money. I do miss those Ernie Balls. All the other EVH stings suck ass.

The biggest difference you'll see is in how you play. You'll be able to bend the strings quicker and easier than you could with heavier strings. Even going from a .016 to a .015 on the G will make a noticeable difference in playability. The tone will be very similar, but maybe a little twangier. Hope that helps.

Bill

Agreed. Ed had a VERY fast vibrato (Like in the solo in "Somebody Get Me A Doctor"). The Fender XL150's have the 15 G string, as did the 5150's. Easy to bend.

Ed uses SS frets now. It's uncanny, but Ed ALWAYS sounded like he was using SS frets (though we know he didnt back then). Nobody else sounded so 'LOOSE GOOSE' on thier bending like Ed did.

With SS frets you could go with heavier strings and still get at that greasy bending style.

I converted to pure nickels a while ago. I was using the DR's 9s they sounded great but are so high tension I was busting them like crazy. I just recently ordered a bunch of fender pure nickel bullets 9-40 and I have to say they have the magic! Sound great, really let the amp breath and add presence while also staying in tune with a non-locking set up to an insane degree of divebombing

Not sure about tone changes (which are there) but I am a major fan of 009s (42s, 40s etc.).
I think these are really the ideal gauges for an electric guitar (I use the SAME gauge on caustics too!). It's just the only gauge that will let you bend AND vibrate the way an electric guitar - ideally - should.

stratonenator wrote:I converted to pure nickels a while ago. I was using the DR's 9s they sounded great but are so high tension I was busting them like crazy. I just recently ordered a bunch of fender pure nickel bullets 9-40 and I have to say they have the magic! Sound great, really let the amp breath and add presence while also staying in tune with a non-locking set up to an insane degree of divebombing

After using my own preferred strings (GHS Medium Boomer .011s with an .018 G string) I am trying the G150XL's (Fender pure nickel 150XL strings with a bullet end) on my Fender Clapton/VH-1 strat on the recommendation of many on this board. I think there may be something to this gauge of string for the early Van Halen tones...it ain't what I like on my other guitars, but I think it may turn out that I have to have this particluar guitar set up just for VH tones using these strings. I have ordered a plain .042 gauge nickel bullet string to replace the .040 that came in the G150XL set so that it is the same as the EVH strings.

I think the slightly fatter gauges that the EVH brand strings have (an option of .042 or .046) have to do with possibly making a D-tuned low E strings less "flappy" when you tune the low E down to D, either manually or with the D-Tuna.

I'll post a clip with my guitar sporting these strings and you can judge the difference by comparing my old clips vs. the new clip...

Tone is what it is all about. A scalloped neck OR stainless steel frets will get you into the SLINKY vibe that Ed got at SO easily,but, with a scalloped or SS fret neck, you can get away with using a 10-46 type guage string ! On regular nickel/silver frets, you HAVE to have a 9 guage set (preferably the xl150 set).

The bullet end strings cost a tad more, but they are a better concept. I have my tremelo block holes drilled deeper (Frudua's method) so that the string's end is right UNDER the saddle. The ball ends 'wrap' would hit the saddle if I used these. The bullet ends are perfect (no wrap).

Tone Slinger wrote:I have my tremelo block holes drilled deeper (Frudua's method) so that the string's end is right UNDER the saddle. The ball ends 'wrap' would hit the saddle if I used these. The bullet ends are perfect (no wrap).

Who drilled the block for you and which tremolo did you do it on? Callaham? Tokai?

Any machinist will do this for you, just maK sure you have a mark on the block that lets them know how deep to go. The bullet ends on mine are about an 8th of an inch (no more than 3/16ths) from exiting the block, going up to the saddles.

The old Tokai bridges sound the best to me, with the Callaham being second. The reissue Fenders are good too, as are the Gotoh reissues.

The metal content (hardness-softness) of the block and saddles is key. Softer ='s slightly WARMER but less brightness and clarity, while Harder ='s brighter and more clarity.

Callaham is a little on the bright side. lots of clarity.

Fender reissue is very slightly on the warm side(tad less brightness and clarity)

Gotoh vintage is even warmer (softer metal) giving the least clarity/brightness

Tokai is tops, as it equals the Callahams CLARITY as well as equals the WARMTH of the Fender and Gotoh bridges.

So depending on the guitar, the Callaham might be TOO bright.


Fender reissues are probably the best bet, 'cause the Callahams might get TOO bright on some guitars, and The Tokai's are hard to find and expensive.




Follow EVERY detail of the Frudua vids, and you will get the best possible tuning stability from a 6 screw vintage Fender style tremelo.

I was about to slap on ernie balls and I got to the B string - SNAP! Fuckin cheapass quality man! Fuck me! I had to run out in ChinaTOWN, wait a minute, this whole country is ChinaTown! haha I bought ANOTHER fucking shitass ernieball pak since they don't sell singles in CHINA(TOWN) and I also was sure to pick up the pure nickel Fenders again, too, in case muthfucker-new-pack SNAPS again! I am pretty sure already, that the ernie will NOT last 2 weeks as the Fenders did. THe Fender's were still shiny and very playable.... I am betting the Ernie-shit-balls will be tarnished, brittle and probably snap from my giant strength within days.... hehe

Tone Slinger wrote:Any machinist will do this for you, just maK sure you have a mark on the block that lets them know how deep to go. The bullet ends on mine are about an 8th of an inch (no more than 3/16ths) from exiting the block, going up to the saddles.

The old Tokai bridges sound the best to me, with the Callaham being second. The reissue Fenders are good too, as are the Gotoh reissues.

The metal content (hardness-softness) of the block and saddles is key. Softer ='s slightly WARMER but less brightness and clarity, while Harder ='s brighter and more clarity.

Callaham is a little on the bright side. lots of clarity.

Fender reissue is very slightly on the warm side(tad less brightness and clarity)

Gotoh vintage is even warmer (softer metal) giving the least clarity/brightness

Tokai is tops, as it equals the Callahams CLARITY as well as equals the WARMTH of the Fender and Gotoh bridges.

So depending on the guitar, the Callaham might be TOO bright.


Fender reissues are probably the best bet, 'cause the Callahams might get TOO bright on some guitars, and The Tokai's are hard to find and expensive.




Follow EVERY detail of the Frudua vids, and you will get the best possible tuning stability from a 6 screw vintage Fender style tremelo.

As you know, I already get excellent tuning stability and I follow the recommendations of many, but especially Frudua. The only thing I haven't done yet is get the block drilled.

So, if I follow you correctly, a machinist will have a bit that is exactly the same diameter as the hole that is already in the block for each string? I would feel better about mailing my block to the machinist you used...at least that way I know for sure that he has done mod this correctly already...if you can, PM me his info. How much did he charge?

Have you noticed a significant difference in the tuning stability since you had the block drilled? I already have great results, but I'm always looking to improve...hell, I'm even trying these crazy light gauge bullets again after 25 years:)