There is so much misinformation around string gauge and what would let to a better tone out there on the internet, so I have decided to summarise the string gauges used by well known guitar players around the world whose tones are iconic.
Guitarist | Primary Instrument | String Brand / Set | Exact Gauge (Low E to High e) | Contextual Insight |
|
Stevie Ray Vaughan | Fender Stratocaster | GHS Nickel Rockers (1300) | .058 -.038 -.028 -.019 -.015 -.011 | Custom “1300” set. The.058 low E drives the amp;.011 high E saved his fingers. Tuned to Eb. | |
Jimi Hendrix | Fender Stratocaster | Fender 150 Rock ‘N’ Roll | .038 -.032 -.026 -.015 -.013 -.010 | “Light Bottom” set..038 Low E prevents fuzz pedal muddiness; Reverse headstock adds compliance. | |
Billy Gibbons | Gibson Les Paul | Dunlop Rev. Willy’s | .038 -.030 -.020w -.011 -.009 -.007 | Ultra-light.007 set. Relies on amp gain/EQ for “heaviness.” “Why work so hard?” philosophy. | |
B.B. King | Gibson “Lucille” | Gibson Signature / Mixed | .054 -.045 -.032w -.017 -.013 -.010 | Mixed light sets (often.008s/.009s top) for “hummingbird” vibrato. Later signature set was heavier. | |
Jimmy Page | Gibson Les Paul | Ernie Ball Super Slinky | .042 -.032 -.024 -.016 -.011 -.009 | Initially used.008 banjo string for high E. Top-wrapped tailpiece for extra slinkiness. | |
Tony Iommi | Gibson SG | La Bella Signature (D#) | .032 -.024 -.018 -.011 -.008 -.008 | Used banjo strings + prosthetics. Ultra-light tension + C# tuning creates “Doom” sustain. | |
David Gilmour | Fender Stratocaster | GHS Boomers (Custom) | .048 -.038 -.028 -.016 -.012 -.010 | Custom set..012 B string (lighter) for 2-step bends;.048 E (heavier) for low-end definition. | |
Zakk Wylde | Gibson Les Paul | Dunlop ZW Hybrid | .060 -.052 -.036 -.017 -.013 -.010 | Massive.060 Low E for drop tuning tension; standard light top for pinch harmonics. | |
James Hetfield | ESP Explorer | Ernie Ball “Papa Het” | .050 -.038 -.028 -.018 -.014 -.011 | Thicker core wire for fast attack and tuning stability during heavy downpicking. | |
Slash | Gibson Les Paul | Ernie Ball Paradigm | .048 -.038 -.028 -.018 -.014 -.011 | .011 set tuned to Eb gives stability and drives mahogany body harder than.010s. | |
Malcolm Young | Gretsch Jet Firebird | Gibson (Various) | .056 (or.058) -.012 Set | Heavy gauge + Wound G string for piano-like open chords and perfect intonation. | |
Angus Young | Gibson SG | Ernie Ball Super Slinky | .042 -.032 -.024 -.016 -.011 -.009 | Standard light gauge for cutting leads and physical ease during high-energy performance. | |
Brian May | Red Special | Optima 24K Gold | .042 -.032 -.024 -.016 -.011 -.009 | Gold strings on short 24″ scale create very low tension for unique pre-bend techniques. | |
John Frusciante | Fender Stratocaster | D’Addario EXL110 | .046 -.036 -.026 -.017 -.013 -.011* | *Substitutes.010 high E for.011 to prevent breakage during funk strumming. | |
Jeff Beck | Fender Stratocaster | Fender / SonoTone | .049 -.038 -.028 -.017 -.013 -.011 | Often started tours with.009s, moving to.011s as hand strength built up. | |
Eric Clapton | Fender Stratocaster | Ernie Ball Regular Slinky | .046 -.036 -.026 -.017 -.013 -.010 | Moved from 10-38 (Cream) to 10-46. Standard gauge suits mid-boost electronics. | |
Eddie Van Halen | EVH Wolfgang | Fender / EVH Signature | .046 -.036 -.026 -.017 -.013 -.009 | Historically boiled Fender 150XL strings to stretch them; settled on standard 9-46 hybrid. |
In summary:
1. “Heavy” Tone Doesn’t Always Mean Heavy Strings
One of the biggest myths debunked is that you need thick strings for a massive sound.
Tony Iommi (Black Sabbath): Despite being the godfather of heavy metal, he uses incredibly light strings (starting at .008) tuned down. This was originally due to his fingertip injury, but it proves that amp settings and technique drive “heaviness” more than wire thickness.
Billy Gibbons (ZZ Top): Uses ultra-light .007s. He famously switched after B.B. King asked him, “Why work so hard?” demonstrating that you can get a thick, Texas blues sound with the lightest strings available if your touch is right.
Jimmy Page: Also relied on very light .008s for his early Led Zeppelin solos to facilitate wild bending and wide vibrato.
2. The Case for Heavy Strings
On the flip side, some players use heavy gauges to fight back against the guitar for specific results:
Stevie Ray Vaughan: Famous for using massive .013s (often tuned down to Eb). He wanted the physical resistance to “dig in” for his percussive, piano-like tone.
James Hetfield & Zakk Wylde: Use heavier bottoms (like .050 or .060) to keep low-end riffs tight and punchy. Lighter strings would turn “mushy” under their aggressive picking hands, especially when drop-tuned.
3. The “Eb Tuning” Secret
Many players listed (Hendrix, Slash, Cobain, SRV) tune down a half-step to Eb Standard. This trick lowers the string tension, allowing them to use slightly heavier strings for a “fatter” tone while keeping the strings slack enough to bend easily.
4. How Gauge Generally Affects Sound
The blog concludes with a general rule of thumb for your own choices:
Lighter Strings: Sound brighter and snappier. They make bending and vibrato much easier but can feel “loose” and break more often.
Heavier Strings: Produce a warmer, fuller tone with more sustain. They stay in tune better (especially for rhythm) but require more finger strength.
The final verdict: There is no “correct” gauge. You should experiment to find the balance between the tone you want and the comfort your hands need.
