Heavy same here! I find it is not only the more "floppy" nature of the thin strings, but to be close to the bridge, it is an awkward angle. I find the same thing in palm-muting the higher strings - it feels like they are not only vertically lower (closer to the ground) but also back behind me more. With a guitar pointed even slightly up, this should angle the higher-pitched strings actually more forward, but I experientially have to really try to move "backwards" to get them to mute properly or to tremolo pick on them.

Samurai wrote:

psychonaut wrote:

If heavier strings make it easier to tremolo pick, then how come I find it just as easy to tremolo pick on the high E or B strings as I do tremolo picking on the low E? If anything, heavy strings make it much harder and tiring to play guitar overall.

For me it’s really difficult to tremolo on high E, especially when it’s less than 12 gauge. I am constantly struggling. Low E is ok and the thicker it is the smoother my tremolo.

I think how one picks is the primary determinant of whether or not heavier strings make faster picking easier.

I think, and I think this is fairly well agreed upon, that if you're alternate flatpicking most every note and picking pretty hard for a strong, clean sound, for whatever reason (tonal, want more volume, and so on), then heavier (i.e., higher-tension) strings do actually make it easier to pick faster. I don't think it's just tremolo picking. Bluegrass guitar players on a big old Martin dreadnaught are in a similar position to surf guitar players - they want to pick hard because they want more volume and the characteristic tone that comes from that approach, and a lot of the music is very fast. I've played bluegrass for a long time, and I don't usually see hardcore bluegrass pickers playing on anything but the heaviest strings their guitar can take. Usually medium 13-56, but I've seen some guys go 14-60. Lots of stories of bluegrass guitars under extreme tension from extra heavy strings having the bridges come flying off. I've seen it. And I have never, ever seen a hardcore, tremolo-picking bluegrass mandolin player using light strings. That's another instance where tremolo picking is very heavily used.

I think the reason for this is that there is less movement of the string in response to a pick stroke, and a stronger (and faster) return force in response to a stroke. The last thing I want when doing real fast tremolo picking is the string to be in a different position when I'm coming back for next, opposite direction stroke. Plus the harder return force makes the pick fly off the string faster and lets me get into position for the next stroke faster.

As far as picks go, of course there are tonal preference issues. But I personally find that a pick that is not quite stiff tends to flop around too much for me, leading to similar issues I notice with light strings. Most of the players I see using thin, floppy picks are using pretty light gauge strings and play in a different style.

I don't think it is a good comparison to compare hard rock and metal players playing through distorted amps to the type of picking a typical surf, bluegrass, jazz, or whatever clean/fast style of player would do. Heavy distortion tends to hide things that would be undesirable in clean styles, but work fine, even preferable, with the distortion. You get the overall envelope of the stream of notes, but not as much precision in their exact time and volume because the distortion introduces so much compression and fuzzes out the precise time-position of the notes. I also think there's a lot more use of hammer-ons, pull-offs, sweep-picking, and other techniques that don't require alternate picking of every single note. I just think the typical range of techniques for those types of styles is quite different.

There are fast, clean styles like country chicken-pickin' that tend to go with lighter strings. I believe this is primarily to facilitate the maximum twanginess in the tone - there's a slinkiness to the sound of light strings that one tends to lose when moving to heavier strings. But that style very frequently and heavily incorporates a hybrid flatpick + fingers approach. That introduces a whole 'nother set of techniques that enable one to skirt having to alternate pick every note. Personally, even when chicken pickin', I still dislike the 9-42 strings so many chicken pickers use - I usually use 11-48/50 on a Telecaster for that approach. I got a Tele recently that came with 9-42 - I pick hard enough that I just about ripped the strings off it. Off they came. Sometimes I'll go with 10-46 if I really want maximum twang, but no lighter.

I'm sure there's some variance in the way people deal with this, and clearly, fast alternate picking is possible with light strings. But I think really fast, precise, strong, clean alternate flatpicking is easier with heavier strings.

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DaveMudgett wrote:

That is a beautiful post! It should be stickied so anyone with questions about string gauge can read it and get informed. Man I love that post and I have mused about and completely agree with so much of what you say. Metal / distorted tremolo picking is completely different than clean surf. You take one of those ripper guitars with low action and 8s, get the best clean tone you can, and there's zero chance of it sounding like the classic surf tremolo picking we all know. As you said the attack is much softer and the strings don't return to their middle fast enough to be able to hit them hard.

I realize within surf there are a variety of tremolo picking, including softer styles. I vastly prefer the harder style, it is exciting and dynamic and it has a sound far more interesting and absorbing to me. For one thing having that big attack makes the tremolo effect more intense and noticeable, which is a huge benefit with all that reverb. I could see people who play softer using thinner strings, and obviously not having anywhere close to the same sound. That sounds more like an e-bow to me haha! You just can't approach the sound of heavy strings being hit hard without heavy strings being hit hard.

Daniel Deathtide

chiba wrote:

DaveMudgett wrote:

I think how one picks is the primary determinant of whether or not heavier strings make faster picking easier.

Nailed it. Yngwie Malmsteen does a lot of tremolo picking and he uses 8s. (Likely the first & last time he'll ever be mentioned on this site!)

I guess you shouldn’t underestimate his influence, especially on those guitar players who started in 80th and also on his popularity here) He was mentioned here a lot and for example Ivan Pongracic is a big fan of Yngwie. Me as well!

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https://linktr.ee/waikikimakaki

Lost Diver

https://lostdiver.bandcamp.com
https://soundcloud.com/vitaly-yakushin

Dale's picking on Miserlou is honestly amazing and if you slow it down you will see he emphasizes the 3rd hit out of 4.
Dale did say he played guitar like a drum.
Eddie Van Halen did similar stuff too!
I do wonder how many hours of practice it took them to reach that level of mastery.

Last edited: Sep 14, 2023 23:29:13

Chatbots are here.
And, as seems to be the case more broadly nowadays, they have improved significantly.

Alon001 wrote:

Die Wahl der Saitenstärke kann in der Tat Ihre Tremolo-Picking-Technik beeinflussen, ist jedoch nur ein Aspekt einer breiteren Gleichung. Dickere Saiten bieten mehr Spannung, was eine verbesserte Stabilität und Kontrolle beim Tremolo-Picking ermöglichen kann. Allerdings können sie auch physisch anspruchsvoller sein und nicht für jeden geeignet sein. Um im Tremolo-Picking zu glänzen, ist es entscheidend, verschiedene Faktoren zu berücksichtigen, die über die Saitenstärke hinausgehen. Ihre Spieltechnik, Handkraft, die Einstellung Ihrer Gitarre, die Wahl des Plektrums und sogar das Material der Saiten spielen alle eine Rolle dabei, das gewünschte Tremolo-Picking-Erlebnis zu erreichen. Die persönliche Vorliebe ist entscheidend, da das, was am besten funktioniert, von einem Gitarristen zum anderen variieren kann. Durch Experimentieren mit verschiedenen Setups und dem fleißigen Üben Ihrer Technik werden Sie die ideale Kombination für Ihren Stil und Ihr Wohlbefinden finden, um die besten Ergebnisse in Ihren Tremolo-Picking-Bemühungen zu erzielen. klicken Sie hier

Translated:
The choice of string gauge can indeed affect your tremolo picking technique, but it is only one aspect of a broader equation. Thicker strings provide more tension, which can allow for improved stability and control in tremolo picking. However, they can also be more physically demanding and not suitable for everyone. In order to excel in tremolo picking, it is crucial to consider various factors that go beyond string strength. Your playing technique, hand strength, the setting of your guitar, the choice of pick, and even the material of the strings all play a role in achieving the desired tremolo picking experience. Personal preference is crucial, as what works best can vary from one guitarist to another. By experimenting with different setups and diligently practicing your technique, you will find the ideal combination for your style and well-being to achieve the best results in your tremolo picking efforts.

Fady

El Mirage @ ReverbNation

I have become so used to playing on .16-.60 gauge strings, I have trouble tremolo picking on .11 and .12s now. For me, light gauge strings are too floppy and just don't feel right. Everyone is different, as this is very subjective.

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