Beginner question about tailpiece placement

[shunt94]

Hey,
I'm planning a first Les Paul build (from a kit) and I'm just wondering if the position of the stop-bar/ tailpiece is important?
The kit does not have holes pre-drilled.
I know that the bridge position is vital but I've read on a few forums that the tailpiece can go anywhere (as long as it's inline with the neck) and then you can plan your bridge position without screwing it down and then mark out where your bridge goes. But other people I've read have said that the tailpiece should be a certain distance from the bridge!

So, Is it important where the tailpiece goes?

I like to have everything planned before I go full crazy and buy a kit so any help would be great
Sorry for the beginner question!
Thanks!

 

[akwusmc]

Shunt, you'll find that around here there's no such thing as a stupid noob question!

From my quick googling, I've found that the length of the 'after string' either affects sustain or 'feel'.

I did find that with violins and others of that family, there is a very specific method to determining the tailpiece length.

That said, I"m sure that there will be other, more knowledgable types chime in and give you a more definitive answer.

 

[cmjohnson]

If you are out to do an exact dimensionally correct replica, you can probably find the data you need in Bartlett's 'burst build thread. (It's huge.)

If you're out to build a guitar that isn't trying to be a dead on copy of anything in particular, put it where you want to. When I built an LP many years ago, I set the
tailpiece back about 2 inches, which is a little on the long side. That guitar always
features a TP-6 fine tuning tailpiece, and for whatever reason, the tuning on that
guitar is always dead stable. I retune it twice a year whether it needs it or not.

The longer the string after the bridge, the softer feeling the strings will be when bending. BUT...this requires that the string move slightly across the saddle notches,
and the softer the bend feel, the more string must slide through the saddle. This isn't
so much of an issue on the unwound strings, but sliding wound strings across the
saddle due to a long bend is very likely to cause the string not to fully return to pitch
after the bend. For this reason I'd generally recommend a shorter string afterlength,
instead of a longer one even though I've done it both ways.

Incidentally, the same issue occurs with the length of the string above the nut. It is
the prime difference in feel (as far as I'm concerned) between a Gibson type guitar and a Strat or other guitar with a six in line headstock.

If you really want to feel something interesting, find two similar Jackson guitars, both with six in line headstocks, but one with a lefty headstock. Play both and pay close
attention to how they feel when you bend each string.

You'll sure feel a difference! I'm sure of that.

 

[shunt94]

Awesome!
Thanks for both your answers! - I'm not really basing the guitar on anything, it's just a fun project to keep me busy (university holidays are far too long to not have projects!).

One more question I have is what tool do you use to measure the distance from the 12th fret to the position of the bridge? - Should I just measure the rough distance with a long metal ruler and then judge the position with Roman's (forum member) method (just moving the bridge to the correct place but not drilling)?

The only tool I know that has good enough accuracy is a vernier caliper, but the largest one I can find is 30cm..
Thanks for the help!

 

[cmjohnson]

The best recommendation I can make for setting the bridge position is to find a perfectly intonated guitar that has the exact same scale length and copy its bridge location exactly. It's how I do it.

Using the intonated guitar, I measure from the peak of the 12th fret at the bass side, to the contact point on the low E saddle, measure again from the 12th fret at the treble side to the contact point on the high E saddle.

If I'm using the same bridge type again, I measure to the bridge stud or body location and duplicate it.

Remember to slightly rotate a TOM style bridge to match the average line made by the intonated saddles. This works out to about 3/32nds of an inch of rotation across the width of the bridge at the stud locations.

 

[John Bauers]

http://www.mondocatto.pwp.blueyonder.co.uk/Lespaul59-ver10full.pdfWelkom bij DRW-Holland

Here are some links that should get you free PDFs. The Catto plan is very good and will give you your STP position.

As far as the bridge position, I would temporally fit a pick up plugged into a tuner.

Temporally string the E strings, top and bottom.

See photo. (this is of Preebs 59) fit the bridge onto cardboard so it can be moved without scratching your finish.

Pluck the open string, (tuned to E) and fret the 12th fret and compare. If the note on the 12th is flat shorten to length, ie move the bridge slightly to the nut. Too sharp, lengthen the scale length, ie. move the bridge away from the nut. Once you have done this for top and bottom Es you will have your bridge position. Stick the cardboard top you top with tape, remove the bridge and drill your holes through the card where the studs were.

It is also good practice to carry out this procedure with the guitar in the play position rather than on its back on a bench.