Beautiful fretboard

[Motherofpearl]

I suppose there's not a definitive wrong or right on this subject, but all methods should end up with at least 2 or 3 wraps down the post. In doing this you get good angle of break over the nut. The angled headstock of a Gibson cotributes to the break angle a lot regardless of how many post wraps you do. On a straight string pull headstock like a Fender you most definitely need two or more wraps down

the post for good angle.

I pull the string through the tuner till it gets to the length of the peg above it and cut it off?

[Buc McMaster]

I don't cut them until the winding is done. String through the post, hold it about 3" above the nut (with just a bit of finger-pulled tension in the string) and start winding with a crank. First wrap over the string tail. Once the wrap is past the tail, I pull the tail up just enough to bend it high enough to clear the other posts as I wind. I use my fingers to hold tension on the string in a "cats cradle" kind of thing. Probably sounds pretty complicated but it ain't. Everyone develops their own way of doing this.............

[stein]

For some reason, "3" seems to be a magic number when twisting or tying knots. I think the idea is that 3 wraps make anything tight and not slip.

 

So in theory, even if the end of the string was not secure through a hole, 3 wraps would around the post would still keep it from slipping.

 

Regardless, if it doesn't have enough wraps around the post, it puts pressure on the end of the string and it can break. 2 might be enough, 9 wraps around is overkill but as long as it is clean, no harm in that.

 

The only thing really wrong with wrapping the string over itself (the knot?) is that it can slip or move slightly. A wound brass string is not really all that hard, so the wrap can crush it, it can twist under the wrap, and you may have to keep tuning. As opposed to a clean wrap around the post, where the tension will be a constant, and the tuning will be more constant.

 

I usually run the string through the hole, "guess" how much lenght it takes to go around three times, pull that amount back toward the fingerbaord, and use my fingers to twist the string on the post making a "z" so both ends are bent through the hole. Then, it holds it enough I can cut it if I want and I don't have to hold the string. If you cut it first, you don't have to worry about the end whipping around and scratching up the pug head.

 

Some tuners that have a short post, I usually wrap the first over the top and the rest on the bottom, just to make sure I have enough space to get all the wraps around without running into the bushing at the bottom.

[stein]

As for that fingerboard, that is one NICE looking piece! The pronounced grain almost makes it look like Zebrawood.

 

It would be interesting to know what it is. It looks a lot like Indian Rosewood to me, but this one looks nicer than most I see.

[j45nick]

As for that fingerboard, that is one NICE looking piece! The pronounced grain almost makes it look like Zebrawood.

 

It would be interesting to know what it is. It looks a lot like Indian Rosewood to me, but this one looks nicer than most I see.

 

 

One of the graat things about all the true rosewoods is the almost infinite variety of color and grain, even within the same species. Sometimes, even with contemporary Gibsons, you see that someone has taken the time to pay attention to the color and grain of the fretboard.

 

I don't know who those anonymous people are, but I'm grateful that they care.

 

I've got Gibson fretboards of Brazilian and Madagascar--and maybe Indian--but they are all different, and all gorgeous. While I have ebony boards on "other" guitars, aesthetically there's nothing quite like a nice piece of rosewood.