1 TAILPIECE SWAP
The tailpiece can have a noticeable influence on the tone and dynamics of a Les Paul. Throughout the vintage era, Gibson tailpieces were cast using a cheap alloy called zamak that contains aluminium, magnesium and copper, and they’re about a quarter of the weight of current Gibson zinc tailpieces.
Zamak produces a warm, woody and airy vintage-style tone, but some may prefer the midrange heft and sustain of zinc or brass tailpieces. Vintage tailpieces are very expensive, but aluminium tailpieces from the likes of Faber, Gotoh and TonePros sound very similar. For the full-on vintage experience, ensure the tailpiece studs are steel and measure the spacing carefully before ordering to avoid imperial/metric mismatches.
2 TOP WRAPPING
Wrapping the strings around the top of stop tailpieces has become increasingly popular, with Billy Gibbons and Joe Bonamassa being high-profile proponents. So, what’s it all about? Some refer to a slinkier feel with easier bends due to the reduced break angle over the bridge, and tonal improvements are claimed, too.
Having tried top wrapping and stringing up with the strings passing through the tailpiece in the conventional manner, we find the latter generates more body resonance. Perhaps added downwards pressure on the bridge facilitates tone transfer, and if there is something to the slinkier playing feel, you can achieve similar results by using lighter strings. Trying it costs nothing, but consider threading the new strings through some ball ends to prevent sharp wraps from coming over the tailpiece and poking your hand.
3 TUNE-O-MATIC
The bridge
