String gauge for A standard 6 string

[Breeding The Spawn]

I've kept all my guitars in D standard for many years and always stuck with the same 2 sets of strings.
Today I'd like to use A standard (ADGFAD) on a 25.5 scale Jackson, I got a spare 7 string set of .11-.14-.18p-.28-.38-.48-.58 and an extra .64 just in case don't remember where or why I have that.
11 14 18 28 48 58 should I use this set?
I use Ernie Ball Hybrids 9-46 for D standard on my Caparison and Fusion Jackson.

 

[Crungy]

I'd start with the 11-58 set or go a little lighter, because I'm not into super thick strings.

 

[wheresthefbomb]

Everyone's gonna tell you something different but I use 13-64 for B standard/drop A and it's as floppy as I care to tolerate. I also don't play fast weedly shit.

 

[MFB]

I've kept all my guitars in D standard for many years and always stuck with the same 2 sets of strings.
Today I'd like to use A standard (ADGFAD) on a 25.5 scale Jackson, I got a spare 7 string set of .11-.14-.18p-.28-.38-.48-.58 and an extra .64 just in case don't remember where or why I have that.
11 14 18 28 48 58 should I use this set?
I use Ernie Ball Hybrids 9-46 for D standard on my Caparison and Fusion Jackson.

Typically what I'd do is use the Stringjoy tension calculator, plug in the 25.5" scale for D standard with those gauges you're currently using (AKA 9-46), THEN open up a duplicate tab and drop it down to A Standard, and plug in baritone string set gauges from different companies and see how much the tensions differ on which strings.

Spoiler alert: most baritone sets seem like some dude picking out of a hat, and you'll always have at least one, at most two, with an extra few lbs on that string; which for whatever reason, always seems to be either the D or G, and it sucks.

 

[gabito]

This...

I'd start with the 11-58 set

... and this.

Everyone's gonna tell you something different

I use a 11 / 49 set for B standard on a six. It's kind of loose, but I like it that way.

I don't think I could tune the sixth string reliably to drop A though (much less all the strings to A standard), but with a 58 or 64 you'll probably be all right.

I use Ernie Ball Hybrids 9-46 for D standard on my Caparison and Fusion Jackson.

I use 9s for E and D standard, you'll have to try it by yourself but I think you'll get a similar feeling with either 11s or 12s. Most likely 12s. In your case the gauge of the 6th string is more relevant though.

 

[Breeding The Spawn]

Thanks guys, I think I'll try that 11-58 set and see what I can do with it first. Front man for the band Obscura is using 10-56 7 string set so I think It'll be ok.
Another question, I got 3 springs in this specific Jackson with 9-42 string gauge, should I add 1or 2 more springs? I won't be using the trem at all for any dives or pull offs so stiffness is no issue.
Sorry for the newbie questions, been playing for more than 12 years now and have always kept my guitars with the same set up and strings. Last few years I've been using the pitch shifter to down tune in the Fractal's but hate the fake wobbly and lag effect it has.

 

[gabito]

Thanks guys, I think I'll try that 11-58 set and see what I can do with it first. Front man for the band Obscura is using 10-56 7 string set so I think It'll be ok.
Another question, I got 3 springs in this specific Jackson with 9-42 string gauge, should I add 1or 2 more springs? I won't be using the trem at all for any dives or pull offs so stiffness is no issue.
Sorry for the newbie questions, been playing for more than 12 years now and have always kept my guitars with the same set up and strings. Last few years I've been using the pitch shifter to down tune in the Fractal's but hate the fake wobbly and lag effect it has.

I've changed string gauge and tuning in all my floating tremolo guitars over the years, but I never had to do that. You might need to adjust the springs tension to level the bridge, but I don't think you'll need to add or remove any springs.

 

[TheWarAgainstTime]

Start with that 11-58 set, but take away the 14 instead of the 38. Then you'll have 11, 18p, 28, 38, 48, 58, which will feel a lot more balanced and similar to the 9-46 you're used to for D standard, although a little bit heavier overall.

Another thing I'd suggest is to just try the 58 for the low A and the 11, 16, 26, 36, and 46 from one of your existing sets. You might want to bump the 16 up to a 17 since it'll be a half step lower than normal, but at least the rest will be exactly the same as what you're used to

 

[Breeding The Spawn]

Start with that 11-58 set, but take away the 14 instead of the 38. Then you'll have 11, 18p, 28, 38, 48, 58, which will feel a lot more balanced and similar to the 9-46 you're used to for D standard, although a little bit heavier overall.

Another thing I'd suggest is to just try the 58 for the low A and the 11, 16, 26, 36, and 46 from one of your existing sets. You might want to bump the 16 up to a 17 since it'll be a half step lower than normal, but at least the rest will be exactly the same as what you're used to

I will definitely try that next time thanks!, just finished setting it up and did the 11 14 18 28 48 58 and couldn't get the bridge to level, took out the 3 springs and put in the black ones which apparently are for heavier tension and put them like this / I \ and I was able to set the bridge flush with the body easily. Now only thing I need to swap out is the 28 for 38, its a little loose feeling, but it feels right for chugging and the higher strings are slinky for leads.

 

[Sermo Lupi]

Spoiler alert: most baritone sets seem like some dude picking out of a hat, and you'll always have at least one, at most two, with an extra few lbs on that string; which for whatever reason, always seems to be either the D or G, and it sucks.

I think there's a logic to it, it's just that the string manufacturers can't account for all use cases, plus many players don't understand that mathematically uniform tension won't necessarily translate to uniform-feeling strings.

I'll explain what I mean using a set of D'Addario's Light Baritone strings, with tension in pounds from Stringjoy's tension calculator @25.5:

.013 - B - 16.9lbs

.017 - F# - 16.2lbs

.26w - D - 20.0lbs

.36w - A - 20.3lbs

.46w - E - 18.3lbs

.62w - B - 19.1lbs

In terms of use case: I think D'Addario is assuming the player buying this baritone set is using it on a 25.5" guitar, with or without the 6th string drop-tuned to A, with an emphasis on uniformity on the bottom 4 strings because they're using them for riffing/chording and not lead playing. It's basically a 7 string without the high E.

Why you'd pick those gauges for that: Stringjoy is a good resource for this; in the video below the string tension calculator, they go over the relevant facts. For instance:

1) You won't notice a small variance in tension between strings of the same type, certainly not less than .5lbs and probably not less than 1lb. For wound vs unwound strings, players are used to 2-4lbs difference in tension, sometimes even 6+ lbs if they like split tension sets (a la Zakk Wylde).

2) Because wound strings have a different geometry than unwound strings, tension should be higher on wound strings than unwound strings. This is exactly what D'Addario has done with this set...the 3.8lbs difference in tension between the 2nd and 3rd strings won't necessarily FEEL like that much, because the wound 3rd string has a different geometry to the unwound 2nd.

3) However, as strings get thicker, they get duller and bassier, thus why many players prefer a slight sacrifice in tension for a less wooly sound on the lowest-tuned strings. Again, this is what D'Addario has done by stepping down the tension on the 5th and 6th strings, with the 6th slightly tighter than the 5th. I assume D'Addario chose the .62 for the low B (6th) because, while it is marginally higher tension than the string above it, this shouldn't be too perceptible for the player and, if they drop that string to an A, the 15.2lbs tension a .62 provides is much better than the 14lbs a .60 would provide. Otherwise, the 17.6lbs of tension a .60 tuned to B would provide probably better matches the set.

4) For a more 'traditional' feel in B standard, they'd probably recommend getting the 12-60 set instead, which uses the plain 3rd and provides even tension between the high and low string groupings (~14lbs/~18lbs respectively).

5) Extended scale players are technically 'baritone' players, but they can use standard string sets to achieve that, so D'Addario doesn't need to demarcate special string sets for their use.

So it basically just boils down to D'Addario making a judgement call on what 'baritone' means as a marketing term, and making an assumption about how those players play.

The string choice for that player is logical, just not for players who interpret 'baritone' another way.

 

[Moongrum]

In terms of use case: I think D'Addario is assuming the player buying this baritone set is using it on a 25.5" guitar, with or without the 6th string drop-tuned to A, with an emphasis on uniformity on the bottom 4 strings because they're using them for riffing/chording and not lead playing. It's basically a 7 string without the high E.

Still seems arbitrary to me. You say D'Addario made the baritone set for riffers, yet for some reason they don't even make a 7 string set with a 62 Unless D'Addario operates on the assumption 7 string sets aren't for rhythm players.
Sad face because I wish they did make such a set lol.

 

[Sermo Lupi]

Still seems arbitrary to me. You say D'Addario made the baritone set for riffers, yet for some reason they don't even make a 7 string set with a 62 Unless D'Addario operates on the assumption 7 string sets aren't for rhythm players.
Sad face because I wish they did make such a set lol.

Probably for the reasons I outlined. Look at it this way, D'Addario's 7 string set has gauges as follows: 10 - 13 - 17 - 26 - 36 - 46 - 59.

If you take away the .010, that's identical to their Baritone set mentioned above, minus the .59 in place of the .62.

I explained above why you'd want a .60 (or a .59) instead of the .62 if you were tuning to B. It's because it better follows the traditional tensioning rules string manufacturers have followed for ages. However, if D'Addario think their Baritone customers drop tune more often, the .62 is a better substitute in that specific set.

Why not offer a .62 in a 7 string set, then? I suppose they think that 7-stringers don't downtune. For those tuning to B standard, the .59 is probably the better choice for a traditional feel. We're talking at scale--I know a lot of guys around here seem to prefer heavier bottom strings.

I agree that D'Addario should offer more than two sets of strings for 7s. At the same time, this forum was basically founded as a place to voice grievances about why 7-string players don't get catered to the way 6-stringers are, so no difference there.

 

[Moongrum]

it better follows the traditional tensioning rules string manufacturers have followed for ages.

True, true, that logic does follow.

At the same time, this forum was basically founded as a place to voice grievances about why 7-string players don't get catered to the way 6-stringers are, so no difference there.

Indeed, my issue is why doesn't D'Addario follow MY logic

 

[wheresthefbomb]

I think there's a logic to it, it's just that the string manufacturers can't account for all use cases, plus many players don't understand that mathematically uniform tension won't necessarily translate to uniform-feeling strings.

I'll explain what I mean using a set of D'Addario's Light Baritone strings, with tension in pounds from Stringjoy's tension calculator @25.5:

.013 - B - 16.9lbs

.017 - F# - 16.2lbs

.26w - D - 20.0lbs

.36w - A - 20.3lbs

.46w - E - 18.3lbs

.62w - B - 19.1lbs

In terms of use case: I think D'Addario is assuming the player buying this baritone set is using it on a 25.5" guitar, with or without the 6th string drop-tuned to A, with an emphasis on uniformity on the bottom 4 strings because they're using them for riffing/chording and not lead playing. It's basically a 7 string without the high E.

Why you'd pick those gauges for that: Stringjoy is a good resource for this; in the video below the string tension calculator, they go over the relevant facts. For instance:

1) You won't notice a small variance in tension between strings of the same type, certainly not less than .5lbs and probably not less than 1lb. For wound vs unwound strings, players are used to 2-4lbs difference in tension, sometimes even 6+ lbs if they like split tension sets (a la Zakk Wylde).

2) Because wound strings have a different geometry than unwound strings, tension should be higher on wound strings than unwound strings. This is exactly what D'Addario has done with this set...the 3.8lbs difference in tension between the 2nd and 3rd strings won't necessarily FEEL like that much, because the wound 3rd string has a different geometry to the unwound 2nd.

3) However, as strings get thicker, they get duller and bassier, thus why many players prefer a slight sacrifice in tension for a less wooly sound on the lowest-tuned strings. Again, this is what D'Addario has done by stepping down the tension on the 5th and 6th strings, with the 6th slightly tighter than the 5th. I assume D'Addario chose the .62 for the low B (6th) because, while it is marginally higher tension than the string above it, this shouldn't be too perceptible for the player and, if they drop that string to an A, the 15.2lbs tension a .62 provides is much better than the 14lbs a .60 would provide. Otherwise, the 17.6lbs of tension a .60 tuned to B would provide probably better matches the set.

4) For a more 'traditional' feel in B standard, they'd probably recommend getting the 12-60 set instead, which uses the plain 3rd and provides even tension between the high and low string groupings (~14lbs/~18lbs respectively).

5) Extended scale players are technically 'baritone' players, but they can use standard string sets to achieve that, so D'Addario doesn't need to demarcate special string sets for their use.

So it basically just boils down to D'Addario making a judgement call on what 'baritone' means as a marketing term, and making an assumption about how those players play.

The string choice for that player is logical, just not for players who interpret 'baritone' another way.

As someone who uses this exact set on a 25.5" guitar I can confirm these observations fit my experience. Just lucky I guess, I wouldn't expect someone with a different play style to have the same results.