String Theory: What Is Top Wrapping?

There’s a standard way of stringing a Les Paul or other stop tailpiece-equipped axe, and it works perfectly fine. And so it should! The darn things were designed to work that way! But there’s another method that some players swear by, often called ‘top wrapping.’ This is a simple trick which anyone can do, and it’s totally reversible (although there’s a small risk of scuffing up your tailpiece, so if that’s a concern for you you may want to pick up a spare tailpiece).

All you need to do is lower the tailpiece right down against the body, poke the strings through the ‘wrong’ end of the tailpiece (from the pickup side instead of the tailpiece side), then thread them back towards the bridge and thread them through the tuner posts like you normally would. And that’s it!

There are two main reasons that players might employ this method of stringing: string slinkiness and sustain.

String Slinkiness

Top-wrapping creates a shallower break angle over the bridge saddle, since the strings pass from the top of the bridge instead of halfway through it, and many players report that their strings feel looser and slinkier as a result. The idea is that with the shallower break angle, the strings are free to move more easily over the bridge when you bend. By the way, as with any setup, it’s a good idea to use some kind of lubricant at the saddles and nut slots.


Secondly, players report an increase in bottom end and sustain when they top-wrap, and they attribute this to the fact that the tailpiece is screwed right down against the body, creating a more efficient transfer of energy from the string into the body, and from the body back into the string.

I tried this with my Gibson Les Paul Traditional and I definitely noticed an improvement in string bendability, low end and sustain, although this will be more apparent on some guitars than others, on a ‘piece-of-wood-by-piece-of-wood’ basis. Next string change, consider giving it a try to see if it works for you!

Joe Bonamassa is a famous top-wrapper. Listen to his Les Paul in action in this video about his signature Seymour Duncan pickup set.

Join the Conversation


    1. Nope, just Les Pauls. Specifically, vintage, pre-Norlin Les Pauls. And don’t even THINK of trying it on a Firebird. They’ve been known to explode when this technique is attempted. Good luck!

        1. If he’s correcting spelling, he’s not being a grammar police. Spelling =/= grammar.

      1. Some people dont type so well. So what?
        And what if he’s not a native English speaker. Then you’d really look like a jerk, wouldnt you! 😉

          1. Yeah, I have a question: did you have to practice to become the amoral scum of the Earth, or is it a genetic predisposition?
            And where exactly should he G.T.F.O of? How do you know his location? This is the INTERnet, not the xenophobic scumbag net. Idiot.

      2. Shouldn’t bother JH.
        THEY’VE won.
        I spent ten years at school learning the English language. Now it seems it’s not needed.
        RIP grammar and spelling.

    1. If you liked the way it felt before your string fell out you could file a small indentation in the saddle to hold the string or have a luithier take care of it for you. GraphTech or some other aftermarket saddle might work for you too.

      1. Yes. If you “Top Wrap”, & you find the strings slipping off the bridge, lower the tail piece until you stop seeing slippage. Works like a charm.

      2. Errrrmm… doesn’t the article advise to lower the tailpiece not a little bit but…
        in order to get more sustain (contact with and transfer into the wood)???
        Another tip I learned from Joe’s guitar tech is to thread the string through a spare string ball-end first, before threading it through the tailpiece, that way it takes-up most if not all of the wind at the end so you keep your wrist free from scratches when you rest on the tailpiece.
        So keep your ball ends when you throw away the old strings!

  1. I do it on my SG and all my other Stop TP guitars. I started because I didn’t like the strings hitting the back of the tuneomatic on the way to the saddles. I swear I broke more strings cuz of that. Now with the top wrap I rarely break strings and yep, sustain is better. Also helps the bottom on an SG. And yeah, feels “bendier!”

    1. Use the big screws to raise the tailpiece – that’s what they are for. Do that and it’s easy to stop the strings touching the back part of the bridge.

  2. I top-wrap both of my ’67 Flying V reissues, and I haven’t broke a string on either guitar since I started doing this 3 years ago. With these guitars, I’m not sure it improves bottom end but it does somehow smooth out the sustain… it makes for a richer sound without actually increasing low end.
    You know what DOESN’T work for flying Vs? Aluminum tailpieces. They actually make the guitar’s low-end sound harsher! It’s really obvious when playing a distorted root-5 power chord on the 5th and 6th string. I know they really improve a Les Paul’s tone, but I would recommend anyone playing a Gibson V to leave the stock tailpiece as is!

    1. Did you break strings much before? I mean, do you find it is an improvement in this area?

      1. Yeah, it’s a big improvement! Haven’t broke a string on either guitar since I started the top- wrap.

  3. My ES135 has a trapeze tail and also the headstock angle is maybe 14 degrees, so not the typical Gibson 17 degrees. I don’t find the strings to be any more bendable than any other of the other 33 Gibsons I’ve owned. I think that the break angle over the bridge saddles being less, means that the tension from top to bottom of the crossection of the string is more consistent. When I have stop tail guitar I always raise up the stop tail to reduce the break angle over the saddles. I like the sound better like that. I’m not sure that having the stop tail screwed down to the body would make any difference at all. I’m pretty sure people are dreaming about that. As I’ve said the real difference is in how the string is less stressed on top compared to bottom with less break angle.

  4. I just finished top wrapping my LP and I can feel a difference. The strings are easier to bend and the sound, it seems to ring out a little more. Can’t wait to plug it into my amp.

  5. All knowledge is good, even if it doesn’t seem to apply to your particular situation. We never know when it might lead you to something else.
    Thanks for this bit.

  6. Nothing wrong with wrapping the strings. Les Paul himself wrapped the strings on his early ’50s Gibsons, albeit from the top under the tailpiece.

  7. My ES-335 doesn’t love this. Strings fall out of the saddle easily and i think the break angle becomes too shallow because there is not enough oomph in the sound. Easier to bend, but Gibsons have short scale anyways so it’s not exactly hard to bend. (F’Chrissake, SRV played Fenders with .013s and he didn’t exactly have trouble bending. JB: man up.)

      1. Don’t make excuses for the fact you’re wussy. I played 13s in standard for a while and after about a month playing a guitar with 10s felt like playing spaghetti.

        1. I’d like to see you tell Billy Gibbons he’s a wussy for playing 7s since the mid 70’s. You do realize that large majority of famous guitarists play/played 10’s or smaller right? Sounds as though you’re overcompensating for a tiny penis. My condolences, now play your damn guitar and let it speak for you because you’re mouth is making you sound like a little twit.

          1. i didnt even knew that 7s exists at all. i work in music shop an we have only one type of 8s for wussy’s if they stop by for strings.

          2. @ Balkan Boy . . . You’re special. If you’re in a band that ends up touring you’ll certainly be on the short bus. Cheers. 🙂

          3. @sashatankerrogich:disqus I think 7s have to be bought as individual strings. D’Addario sells 7s ( There are other manufacturers too that sell 7s individually. I can’t think of anyone that makes sets, but understand, there are quite a few celebrity guitarists who have rather unusual string gauges because they buy them individually.
            For example, David Gilmour uses 10, 12, 16, 28, 38, 48 on his Strats.

          4. Dunlop makes Reverend Willy’s Mexican Lottery brand; the 7 set is 7, 9, 11, 20, 30, 38. They are Billy Gibbon’s signature strings. I mentioned this as a reply to Balkan Boy.

          5. Dunlop makes Reverend Willy’s Mexican Lottery brand; the 7 set is 7, 9, 11, 20, 30, 38. They are Billy Gibbon’s signature strings.

        2. Brian May used 8’s in the old days and 9’s now. Tony Iommi uses 8’s at standard adn 9’s to tune down. Alan Holdsworth uses 8’s. Yngwie uses a set that starts with an 8. Billy Gubbons uses 7’s at regular pitch and 8’s to tune down. All of th em have great tone and none of them are wusses.
          Maybe you are trying to make up for a tiny pecker

          1. Most of the guys (that I know personally) that advocate for thick strings, have little/no vibrato technique and/or all of the playing subtlety of a train wreck, There’s a much more valid argument to be made for the detuners, however.

      1. Yes, and by the time he died he was having a lot of hand and wrist problems. According to his tech SRV was using 11-56 at the time he died

  8. funny you offer this as an alternative method. It’s the only way I ever string my Paul & never paid attention to any other. I just never learned another way so I guess I’ve always top wrapped.

  9. God damn it. Changed strings on my LP for the first time in a bit over a year just a couple of weeks ago. If I had read this article before that I would’ve tried it out. Oh well, there’s always another stringchange scheduled in the future.

    1. It’s the only way of playing that twinkly bit in BLS’ Superterrorizer. If that weren’t enough, I break far fewer strings this way, so it seems objectively better for that reason alone.

  10. I tried this once. This does LITERALLY nothing but mare your tailpiece on Mockingbirds.

  11. Ive done this on a few guitars and had ok results, took some adjustments on the bridge to keep the strings from slipping off the saddles, I really think it depends on your specific guitar if it works or not, worth giving it a try.

  12. Just play the dang thing. Use good strings, and go as heavy as you can handle. If your break angle is insane, then this ‘wrap’ will help. This top wrapping is not gonna change much for me so I ain’t even gonna try it, but if it does for you? Yipee.

  13. My 53 LP that was how they were no bridge just the tail piece! My Carvin the bridge and tail piece are down on the body Joe Walsh said that he loves that about C
    Carvin He said he asked Gibson and Fender to do that and they would not. My bridge on SH550 ir routed into the body the sustain is amazing! More should look at Carvin they really are top of the top guitars. Trust me I have an SG and owned for 30 years a 53 LP and Carvin blows Gibson away!

  14. Even though Joe Bonamassa is noted here, Billy Gibbons (ZZ Top) is famously known pre Joe for the same…on his “Pearly Gates”…as much as it is tempting to test fate I will remain true to the tradition way…my Les Paul ( STP ) plays just fine the way it is thank you!

    1. Hear, Hear, If it’s not broke don’t fix it, My Gibson LP Studio plays and sounds just fine the way it is , so does my 335 Dot (Epiphone) but it’s up you how you want to set it up, what works for me may not work for you !

  15. I’ve done this on my ’13 LP Studio Deluxe. I like the tailpiece all the way down and when it’s like that the strings actually contact the body of the bridge in a wicked break angle so I top wrap and the break angle is much more reasonable.

  16. This does work on these guitars but I noticed this many many years ago , with my first Gibson guitar , a ’62 SG/LP Jr..
    It had the grooved harmonic stepped stop tailpiece / bridge combo on it . It was an easy bender and sustained for a life time through my ’71 Marshall Super Lead full stack , which I still have but I don’t have that lil’ Jr. any more . A greatly missed guitar . I made up for that guitar tho with 7 different models of SGs in my fleet … including a double ” trouble ” neck .
    All you guys into LPs , try a ’52 LP with the same stop tailpiece / bridge combo setup .

    1. I too have a Bigsby and it’s set up more like the method here. You have to hook the ring on the peg, go back around that bar, under the next, and then over the bridge. Pretty close.

  17. I did it long ago & never went back…you just feel the difference right away,better sustain,easy bending,even the tone…works fine for me & my Les Paul studio(& the strings never came off the saddles)…thumbs up for the Top Wrapping…cheers.

  18. Sorry, but it is a myth, you should have the tailpiece ‘bottomed out’ anyway and your sustain comes from the extra down pressure on the bridge. Three and a half years as a tech for Gretsch, and an apprenticeship, at the Terada factory in Nagoya, Japan, I may know just a little bit about guitars.

    1. Just like on an Acoustic guitar. The more down pressure on the saddle, the more sound transfer you get. I even slot the bridges on my Acustic guitars to increase the down pressure. The wrap around deal works if you can get good down pressure on the saddle only.

    2. You shouldn’t necessarily have the tail piece bottomed-out on a Gibson. What’s important is to make sure the strings clear the back of the bridge. This is a particular problem with Nashville bridges which don’t allow such a high break angle as the ABR type.

  19. All you have to do is raise the tailpiece if you want slinkier action, and you will never screw the tailpiece down until it is flat against the body because the mounting studs are flared at the bottom and the tailpiece sits on the flares, there will always be a gap between the body and the tailpiece.

  20. Would it be a good idea to try on an “Orville by Gibson” Les Pauls standard made in Japan in 1990 ?
    In order to replace originals HB’s !

  21. There’s a reason why only about two of two hundred thousand people who play guitar for a living do this … because it just another myth. I’ve love to see how many people would claim they liked the tone of a guitar with white tone knobs versus the tone of one with black or gold tone knobs if they were told that white knob knobs produce a cleaner signal into the amp.

  22. 10’s were a little tight feeling… so gone to 9’s but i don’t want the extra looseness of the shallow break angle. so i wound my tailpiece to the body and am really happy with the extra tone and sustain it gives 😀

  23. Anyone think its possible to change a guitar with a whammy to a hardtail..preferably like the one on Gibson.

  24. Most people that I know that top wrap do it because their necks were improperly attached to the guitar body. It’s the only way they can get the string from the saddle to the tailpiece without hitting the bridge.

  25. The good guitarists sound the same whether playing a Vintage Less Paul or a cheap Epson. It’s the technique that counts. Once that amp (or pedal) goes into distortion, most of the sound timbre transfers from the clean guitar to the amp and the type of speakers and enclosure used.

  26. Why not use the stop tail that was designed to be a wraparound? Then the strings will seat correctly the notches are already in the top of the stoptail. You get all of the benefits mentioned in the post and none of the negatives. No scratches better sustain and it is much easier to setup!

  27. I never break strings on either of my LesPauls, at least I can’t remember the last time it happened. On any of my guitars for that mater and I’ve got a couple Fenders too. String breakage is just not a problem and all my guitars are stock to boot. I can’t remember the last time my Les Paul came up short on sustain either. A slinkier feel might make it easier to go up a string gauge for some fatter tone though. The silkier feel alone might be worth it. Ill have to give it a try.

  28. Is lubricating the nut slots and bridge saddles benificial on basses also. I’d never heard of this before. And what kind of lubricant? Vaseline?

  29. Some of you on here remind me of why playing with other musicians usually sucks . Being a know it all fucktard is not a appealing aspect.

  30. Just don’t screw the tailpiece all the way down. It’s not meant to be screwed all the way down anyway. That’s why it’s adjustable. And you won’t get more sustain with the bar all the way down. That doesn’t even make sense.

  31. A greater tonal improvement might be achieved by looking up Bill Callaham to score one of his bridges and stop bars … made from a solid block of cold rolled steel.

  32. Joe B.’s guitar tech removes the ball ends from an old set & threads each onto a new string before installing it, which takes up enough of the string to prevent the wrapping to extend beyond the tailpiece, eliminating the possibility of irritating the heal of your picking hand. He also does the first wrap around the peghead above the insertion hole, then winds the balance below the hole, facilitating quicker removal of a broken string. He demonstrates this all in a rig rundown of Joe B.’s gear recently done by Premier Guitar. I’ll post that link if I can find it…

  33. I owned a Les Paul Custom at one time. When the tailpiece is screwed down against the body (which it seems to be designed to do) and you string in the typical manner, the strings press against the back edge of the bridge before passing over the saddles! Just another place for the string to get hung up and cause tuning problems! I didn’t play with high action or anything like that; this just seemed like bad design to me. I noticed a photo of Duane Allman playing a goldtop Les Paul with his strings top-wrapped; I began to do the same, and never went back.

  34. Is anyone listening to the conversation and the subject content.Hey,JH, “learn to be civil,Do you have ADHD?All the comments are about this dickhead.Did mommy feed you with falsies.Can you even play?
    Great video.I know some players that like this and some who don’t. Your choice

  35. I top wrap. not because of any specific MOJO myth or sustain boost. I top wrap because i didn’t know any better. When I got my first LP with a stoptail I fed the strings wrong, top wrapped it and never looked back until I started noticing every other stoptail I saw was not top wrapped. I felt kinda silly however by then it was my thing, then came the internet and I noticed I was not alone.

  36. I’ve tried it on my Les Paul, didn’t make any difference at all, but I have already got my stop tailpiece screwed right down anyway as I use a roller bridge.

  37. Will top wrapping cause a greater chance of string breakage? At the suggestion of a guy that worked on a couple of my guitars I over wrapped. Now I see stress fracture in ( most notably) the lower 3 strings. I don’t notice and real difference in the playability. My concern is with much more than moderate play will it be an issue? Anyone have a legitimate answer?

    1. I’ve never noticed a difference in string breakage, although it can vary with brand and gauge of strings.

    2. yeah although I like the idea of top wrapping my g 3rd string didn’t last long. Presumably because when it comes out of the back face of the tailpiece and then makes a near 90 degree bend, before it goes over and then to the bridge. And it just didn’t break clean – instead the stands unwound first, and I kept getting stabbed in the right palm for a while.

  38. Top wrapping can improve performance when: stringing the “normal way” leaves the strings hanging up on the edge of the bridge body.(a sign that the instrument has a high neck angle)
    The small distance of free string between the saddle and the tail stop have an effect on tone, as does the bearing angle of the string against the saddle.
    Some on this post have complained about the string jumping of the saddle when top wrapping. It may be that the neck angle is low enough to prohibit top wrapping. You need at least a couple of degrees of angle pus
    hing down on the saddle.

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