Michael explains that the most important thing about changing strings is making sure everything is taught and running in line. You’ll experience tuning issues if your strings are getting caught or snagged.
To help with this, Michael recommends using the 5-4-3-3-2-1 method. With this method, imagine that your tuning pegs are the face of a clock and adjust the holes of the tuning pegs as indicated in the image below. The reasoning behind this method is that the fatter strings don’t need as intense of an angle as the thinner strings.
Michael also likes to change his strings with his guitar in the playing position. If you tune your guitar and change your strings with your guitar laying down, you might have tuning stability issues. It’s also important to remember that temperature and humidity can affect tuning stability as well.
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He also likes to change his strings in the following order to maintain balance: A, B, low E, G, D, and then high E.
Constantly stretching the strings as you bring up the pitch is very important. The more you stretch the string, the longer it’s going to stay in tune.
Michael likes to put the string between his forefinger and his thumb, and push in different directions across the speaking length of the string. You could also pull down on the string with your left hand and pull up with your right hand. Michael also likes to do bends at every fret on the string, going chromatically all the way down to the nut.
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He also likes to compress the tremolo bar after every adjustment he makes to the tuning pegs. Doing this helps the string to remember what position it’s supposed to stay in.
Again, it’s also important to remember that temperature, position, how forcefully you play, and the type of strings you’re using all play an important role in your instrument staying in tune.OK, so I know I mentioned that we were going to move on to tremolo stuff in this tuning series but something happened after I published the last article that made me think it was worth talking a little about locking tuners.
Essentially, after I mentioned the tip of always tuning UP to a note, I got a bundle of emails from people saying they’d heard exactly the
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The easiest way this is accomplished is to have a thumbwheel on the rear of the tuner body. Tightening the thumbwheel raises a pin through a hollow ‘tube’ down the centre of the string post. The pin clamps the string in the hole.
Different tuners use slightly different methods of clamping the string but once the string is clamped, the tuner behaves exactly like a regular tuner. You turn the key which turns a ‘worm-gear’. That worm-gear turns a larger, round pinion-gear, which rotates the string post. All that’s a complicated way of saying what we pretty much all know —turning the key turns the post.
Locking tuners do all of this in the same way as normal tuners. The only thing that locks is the string inside the hole.
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So, back to that advice. If you take a look way down the bottom of this Fender Support Document, you can see it listed under Additional Hints. No rationale is given.
After some poking about I was able to find some more (slightly shaky) information in the bowels of a number of forums. There’s some information in this tread and it’s repeated across a couple of different forums too.
The first piece of information (another piece in a minute) — and the one that’s repeated in different forums — is attributed to
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And states, “That is just ensure that the string is stable on the tuning post, when you overwind the string slightly the grooves of the string can settle onto the post eliminating any ‘slippage’ during first time use.”
[I actually misread this first time and replied to a couple of readers mentioning grooves in the string post itself. Sorry about that. My bad.]
Ok. I can see where they’re coming from. Over-tightening the string could compress the wraps a little and speed that process. That could certainly lead to a little extra stability. I’d argue that stretching will do the same thing.
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And, here’s the thing: Even if you over-tighten and then back off, I really recommend still de-tuning lower than the note and tuning back up.
Doing anything else assumes a system with no slack. Granted, a locking tuner —without multiple wraps around a tuner post — has less potential for string slack to hide but that’s just part of the string-tuning system.
Tuning up to the note, even with locking tuners, keeps that slop to a minimum. Tuning down is ‘de-tensioning’ things and giving slack and slop a home.
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I don’t know what Fender —or the tuner manufacturer — intended by this advice. My own feeling is that you should ignore it and tune your locking tuners UP to the desired note.
Can I call Fender's advice positively debunked? No, not really. However, it makes no sense to me and my experience says otherwise. If someone from Fender wants to explain the reasoning on this one, I’m happy to be corrected. Otherwise, up, only up.
As we're on the subject, I’m going to finish with a recap of how to properly string locking tuners. Lots of players will string them just like they would a regular tuner but that utterly kills their value.
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Locking tuners big advantage is that you don’t need multiple string wraps so the string won’t slip. There’s less potential for slack to hide in wraps.
So, don’t string your locking tuners like you would a normal tuner. If you’ve more than one wrap, you’re doing it wrong.
Line up the string holes in each post so they’re pointing up/down the neck. Feed a string through and pull it relatively tight from the free end. When you’ve removed any slack, tighten up the locking mechanism in whatever way your tuners accomplish this.
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Then, tune up to pitch. Like I say, you should have less than one wrap on all strings (the top string will be closest to one wrap but should still be less).
So. Sorry for this locking tuner digression but, I had enough questions on this one that I thought it worthwhile enough to warrant its own post
Going to round off this short series on sticking, seizing, and troublesome guitar tuners with some final tips. Sometimes, it’s not the tuner that’s causing the problems. Check it out…
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Last time we looked at cleaning and lubricating open tuners to deal with sticking and seizing problems. What if the tuners are sealed, though? How do you deal with those when they get troublesome? Let’s see…
Tuners can sometimes become stiff, jerky, and difficult to use. Theyt uners might not ‘slip’ out of tune but uncooperative tuners can make it hard get get in tune in the first place. And it’s pretty annoying. This might help.
The thrilling second instalment in the terrific tremolo tuning troubleshooting series. If you’re having trouble keeping your vibrato bridge in tune when you wiggle that whammy, check it out. It might just help…
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Tremolo bridge not staying in tune? While the maintenance and troubleshooting of vibrato systems could fill a book, here’s part 1 of a ‘dump’ of tips. Maybe one of them will help you out.
So, after publishing the advice to always tune UP to a note for stability, I had a lot of questions about some advice from Fender saying the opposite when using locking tuners. Should you always tune up or should you sometimes go past the note and tune down?
So, we need to talk. There’s one thing in the whole ‘tuning chain’ that is worth considering as being a source of tuning problems. It’s a bit delicate, though. And, well… it’s you!
The 5 Best Locking Tuners For Stratocasters (review)
If you were lining tuning problems up against a cop-station height chart, the NUT would be the prime suspect. He’s got motive and opportunity and his alibi is looking shaky.
String-stretching is an oddly contentious subject so I’m not opening the floor for arguments or opinions. What follows is my considered view on how and why to stretch new strings. It works and it helps.
Continuing our look at tuning problems, let’s start with something pretty fundamental. If your guitar’s not strung well, you’re already on the back-foot. Get this right and it just might lead to a more stable instrument.Here you are again, sitting with your freshly strung guitar, exhausted from tediously unwinding and pulling worn out strings through your machine heads. You’ve drawn blood changing strings, winding them around posts, pricking your fingers (your livelihood!). At this juncture you’re probably thinking, “there has to be another way.” Enter locking tuners.
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Locking tuners came about with the popular increase of extreme vibrato-arm usage in the 1980s, but have since proved to be quite useful in other scenarios as well. They have been a staple for professional musicians and often incorporated on professional-grade instruments since their debut. The term ‘locking’ is slightly misleading as it’s not your tuning that locks in place, but rather your string. They’re called locking tuners because inside the eyelet
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