LP. Stop bar up or down on the high "E" side?

I tend to go back and forth on the overwrap vs. standard wrap issue on my LP. With the top wrap of 10-46 strings I can set the stop bar all the way down,where allegedly it transfers more string vibe into the body...not totally sure on that one. But standard wrapping it is said that on the high E string that you don't want it to make contact with the backside of the bridge,so that side of the stop bar must be raised to just clear that string. Anyone have some input on this and is it a big deal or a tone killer
thanx's!

Gibby58 said:

I tend to go back and forth on the overwrap vs. standard wrap issue on my LP. With the top wrap of 10-46 strings I can set the stop bar all the way down,where allegedly it transfers more string vibe into the body...not totally sure on that one. But standard wrapping it is said that on the high E string that you don't want it to make contact with the backside of the bridge,so that side of the stop bar must be raised to just clear that string. Anyone have some input on this and is it a big deal or a tone killer
thanx's!

Click to expand...

first and foremost, the stoptail serves to change the angle behind the bridge, which is crucial for tone and sustain

The problem is, that line is vastly different for many people.

Some like the shallow angle of jazzmasters/jaguars/toploader teles/top wrapped les pauls.

While the tension is undeniably the same (as tension is determined by the speaking length, mass, and frequency), the angle behind the speaking length affects how slinky the strings feel when you bend.

I don't like it. I lose tension and volume. And strings pop out.

In the realm of most things, it matters more in acoustic guitars though. But again, enough is sufficient. If you have a good break angle, there's no need to go crazy over by increasing it further, same with headstock angle. In the pov of guitar building, there is a (widely) accepted general range. No one really advocates 3-5 degrees break angle at the bridge (which is kind of what you get with a top loading effect).

As for the string hitting the bridge one more time on the ridge of the bridge, it doesn't matter really.

Fender's vintage reissue saddles allow for the string to kink in three different places and it's not really a cause for concern anyway. One more point on an LP won't make much difference. If the frame of the bridge collapses, then that's more the fault of the material, and we see this on many abr-1s new and old, in various setups- so that's telling.

Above all, I think it's still an important aspect, but not as important as first getting the relief right, then nut height, then string action adjusted by the bridge. The tailpiece follows that. Not making any rash presumptions, but don't start at the tail end.

There is nothing written in stone about how to set up a LP. I've even seen them set up with a combination of three top wrapped and 3 standard routed. The design lends itself to different setup styles.
Some say you need enough string angle over the bridge to effectively transfer vibration to the body but not too much angle which may promote string breakage.
You might peruse Youtubes and get ideas and instruction. Start with Stewmac. You asked a question with a million answers

EDIT: Regarding string breakage, if it breaks, don't start with the tailpiece. Look at where the string, and where the string breaks and examine the saddle for any kinks. Teles and strats have greater angles and shorter lengths which according to that logic exacerbates this breakage, but none have been reported more than the LP to any noticeable degree. String breakage should be the least of concerns in this domain. A LP stoptail strapped tightly down will have 17-20 degrees at best- the same at the nut; not many complain of the strings breaking at the nut area. Play around with the stoptail, but for other reasons than string breakage.