Need string change help: T-I CF127

Jim Hanks

Well-known member
Joined
Mar 13, 2013
Messages
5,825
Reaction score
601
Location
JoCo, NC (near Raleigh)
Well, this is embarrassing. I'm going to install the Thomastik-Infeld CF127 string set on my guilele and realize I don't know which end is supposed to go at the bridge. I'll try to get a pic next, but if you've used these strings you may know what I'm talking about.

The 3 basses have a red material at each end. One end it is about eight inches and much more flexible than the other end which is about 2 inches, quite stiff, and has a loop (but not a ball end). I have not seen a string like this.

The loop won't fit in either the bridge hole or the tuner hole so it seems my only choice is to either:
  1. put the flexible end through the tuner first and run it down the fretboard so that the loop stays up by the tuner (but surely it's going to get cut off).
  2. Or I go the opposite direction and string the flexible end through the bridge and go up to the tuner, leaving the loop down by the bridge - but doesn't seem like it would be tie-able it is so thick.
I feel like #1 must be the right answer but these are $$$ strings so I don't want to screw it up. :p

Booli, Booli? :confused:
 
iTlnDigl.jpg



Here's a pic. How do I string this thing?
Oh by the way, it is a tie bridge.
 
Being that these are classical guitar strings, they have no ball end, and like steel strings, that have a loop, with a metal ball or cylinder inside one might thing that Thomastik forgot to install the ball, but no, they come that way with the loop 'empty'. This is normal for Thomastik-Infeld strings.

The loop end is meant for the bridge.

Most folks will just cut off the actual loop and then tie the string onto the bridge just like a normal wound string.

I never cut the other end either and at the very least pull the red silk wrap thru the tuner such that there is enough to get 2 wraps of the silk around the tuner, and then let the rest wind around the post as necessary.

Also, on the loop end, after cutting, I usually and liberally paint the cut end at the tips and around at least 1/16th of an inch of the silk wrap with some clear nail polish so that the silk wrap does not unwind. be sure to let the nail polish dry and cure. When you can no longer smell it, it is dry. Maybe 15-20 mins?

You could also use super glue for this, but I'd rather not glue the string to my finger tip, so I dont use the super glue myself.

One time, I fed the non-loop end thru the bridge holes from the butt-end and over the saddle, and then when the string was pulled thru enough, fed that end of the string thru the loop, but found this very fiddly, since the loop has both a nylon silk as well as metal to form the loop and getting the end thru both parts was diffiicult to pull thru and once thru a little tricky to pull the rest of the string thru without snagging on the silk or metal part of the loop. Hence, I just cut the loop off.

I know the ends of the string and the red silk wrap are thick, and you do NOT want to tie them like this:

1351877136How_to_Restring_a_Classical_Guitar_19.JPG


but instead like this:

Stringing+Classical+Bridge+01.jpg


see here: https://hazeguitars.com/how-to-string-a-classical-guitar/

Hope this helps. If not let me know and I will try to explain better.
 
Thanks Booli! What would we do with out you, Mr STRINGman! I read the thread and tried to walk in Jim's shoes...and I could not figure it out!
 
Last edited:
:bowdown: :worship: :bowdown:

I owe you one B-man
:cheers:

No worries. Glad to help. First time I used the T-I CF strings I was flummoxed too about the loop end.

Long-lost UU brother OldePhart (John) introduced me to the wisdom and magic of these strings, and he advised me as to the cutting of the loop.

However, the application of something to keep the ends intact, such as the nail polish was my own idea. It's worked well for me so far in over 3 yrs of using these strings.

Just make sure to let it dry, for you dont want nail polish drops on the top of your instrument, for which the solvent is acetone, and that is also likely to damage/remove any gloss or satin finish on your instrument. as well.

Thanks Booli! What would we do with out you, Mr STRINGman! I read the thread and tried to walk in Jim's shoes...and I could not figure it out!

I was really tired when I replied last night and was not sure what I typed made any sense.

Hopefully you guys can follow it.

Also, this morning, I realized that I did not mention how I put those strings on the Cordoba Mini, which has a pin-bridge.

I know it was different even from what I wrote above, but was maybe a year ago and I dont even remember right now (still just now having coffee and my brain is not fully awake yet).

I'll have to detune one string on the Mini and see what I did at the bridge-end if you want to know about that. Let me know and I will examine and take a picture if necessary.

The important thing is to not let the red silk unwrap, thus the tiny bit of nail polish or super-glue.

Also if you kink the T-I CF strings, (like trying to tie an overhand knot and pull it tight) the chrome-flatwound outer wrap will simply break, and then all of the string tension will only be held by the inner white-silken-nylon hairs, which will not last long at concert pitch.

These strings really cannot be bent at a sharp arc or more than 45 degrees as they exit the bridge and go over the saddle (the break-angle) because of the flatwound outer-wrap. Around the tuner shaft there is no problem.

Roundwound strings (which sound like a hacksaw in use when your fingers slide over them) can tolerate much more abuse due to the outer wrap wire being round and rotation/kinking does not usually cause damage unless you repeatedly wiggle it back and forth 180 degress with INTENT of breaking it.
 
Thanks again Booli. Yeah, I can see the Mini being an additional challenge. Honestly, I don't think that one will be staying long term anyway so I'm not going to change that one. If I can get this C1M strung with the T-Is, I'll do a side-side-side of it in Terz (hopefully) and the Mini in Terz EFS. That's the plan anyway.
 
I must say looks pretty bad your bridge tie job. It is a cosmetic thing mostly to tie string ends to next string. Maybe can prevent also some end rattling? I don't care about that.

They are not exactly curving away behind the bridge like in Booli's picture in post #3. To me it is ok too to make like in his first picture. Then they don't have to even curve away behind the bridge.
 
I must say looks pretty bad your bridge tie job.
I know right? :p
It has been a long time since I changed wound strings (*) and I have always used the technique Booli's first picture for them, just like the trebles. These are a lot stiffer than normal strings (because of being flat wound I presume) and I don't think they would have worked like that anyway. I also haven't done the "tie to next string" technique but did it here as another tensioner, I.e. maybe it will help them not to fly out of the bridge. It feels secure so far but time will tell I guess.

(*) wait, I take that back - I recently put some Aquila guilele strings on the Rogue baritone. Basically the same pitch as these but thinner gauge and not nearly as stiff. I did the first picture with no problem. Oh well, I'll do better next time if I don't give up on wound strings again. :p
 
I know right? :p
It has been a long time since I changed wound strings (*) and I have always used the technique Booli's first picture for them, just like the trebles. These are a lot stiffer than normal strings (because of being flat wound I presume) and I don't think they would have worked like that anyway. I also haven't done the "tie to next string" technique but did it here as another tensioner, I.e. maybe it will help them not to fly out of the bridge. It feels secure so far but time will tell I guess.

(*) wait, I take that back - I recently put some Aquila guilele strings on the Rogue baritone. Basically the same pitch as these but thinner gauge and not nearly as stiff. I did the first picture with no problem. Oh well, I'll do better next time if I don't give up on wound strings again. :p

Jim, It's not good to leave it like that as per your photos above...

The photos I included in my previous posts, were not to show for trapping the leads in the next string, and if you leave it like that with the tails trapped on the TOP of the bridge instead of trapped on the REAR of the bridge towards the butt-end, near the hole and before the break of the corner, they WILL slip out.

If you rely solely or are depending upon the tail being held only by an adjacent string, this is going to be a mistake and the string is likely to slip and pull out over time.

See this photo for an alternate camera angle:

sZHbWTW.png


Mind you, none of these photos given in this thread are my guitar, but this one here^ is from a StewMac video (and skip to 1min52sec to see the actual string install part):

https://www.youtube.com/watch?v=ftW3PTx24vE

Basically you hold the string tail against the top of the soundboard with your thumb, and make sure it gets trapped towards the butt-end of the bridge, on the side that is 90 degrees to the soundboard BEFORE the corner of the top of the bridge that is parallel to the soundboard, and NOT trapped on the top surface of the bridge.

This is especially important with the chrome flatwound strings, as they WILL slip under tension, and eventually pull out if you do not correct them on your bridge as per the info given here.
 
Top Bottom