In what way,and to what degree does a reverse 6-in-line headstock alter the feel of the instrument?

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If guitars were cocaine I’d be John Belushi.

Well, since it reverses the length of the strings, this means that the low 'e' is longest, which means a probably higher tension which results in a sound that's brighter than normal. Also, it'll most likely be harder to reach.

I have also noticed that the bridge is positioned so that it is angled higher towards the treble strings, which means that the low strings are brighter and the top strings are mellower.


-The Screamin' J

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2008 Squier bullet stratocaster modified with Rumpelstiltskin pickups -> Dunlop GCB-95 Original Crybaby -> Fender Vibro Champ XD

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I find them more awkward to change strings on...

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It wasn't Willy-Nilly, it was at crows.

Assuming that you have a properly cut nut (and didn't just slap a left-handed neck on your right-handed guitar) it won't do much that's noticeable through an amp. The lower strings might be a bit spankier, but you might not notice. The only drastic changes are aesthetic and ergonomic: tuning the thing standing up will be more of a pain in the $@! because the low E peg will be where the high E peg should be...

The physics of a string don't change due to the length of string on the other side of the nut... tension of a given brand of string of a given gauge is the same when the string is brought to pitch regardless of how much length reminds behind the nut.

I therefore share Vulkan's opinion.... the only thing a reverse headstock does is make you personally feel more like your favorite lefty rock star and make you wish you hadn't done it when you have to tune the guitar.

+1 on SlapShop's reasoning.

I was thinling to do a project git with reverse headstock, but then I tried one and my project never took off. It might be different for you.

Tuning is actually easier on a reverse headstock, as you don't have to reach (move your hand) around the neck to get to to the tuners when playing. On a strat you have to reach to the furthest tuner either way, high E or Low E, it matters not. So if you have to reach, at least you don't have to move your hand from playing position to over the top of the neck with a reverse headstock.

I think people who are used to the standard neck, well, are just not used to the reverse. I like the look of a reverse headstock and the standard, and have no specific preference. But when I hear people say that tuning is harder I just do not understand that comment, because its just not true

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It alters the feel of tuning and looks just wrong to me, but many seem to like them as most guitar makers have reverse headstock models.

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Totally agree. I don't like them myself. Not a fan of the bigass headstocks either.

It is true.
I find it much easier to tune a guitar with six on a side tuners that point up, than to tune one on a reverse headstock.
When I taught guitar there were times it was expedient for me to tune the students' guitars--although they all learned to tune--and the ones with reverse headstocks were pains in the butt.

Along the same lines--and in reference to what you're used to--Most of my guitars have the tuners three a side--and that is actually what I am most used to--and I find it much easier to tune and change strings on the upside than the downside--and I am used to both.

In fact as the unwound strings are usually more likely to break, I have changed more high E strings than any other string. And that's on a tuner pointing down. The string most likely to go out of tune is the G. And that's on a tuner pointing down. So what am I most used to? Yet what do I find more awkward--despite being more used to it?

As far as my 12 string goes--those six tuners pointing down are the worst.

It's more natural and intuitive to tune and change strings with the tuners pointing up.

That said, I wouldn't pass on a guitar that I otherwise loved, just because of a reversed headstock--and hey I love my 12 string--though it can be a pain in the butt to change strings and tune. But all other things being equal--a regular headstock would be my preference.

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It wasn't Willy-Nilly, it was at crows.

Oops--not sure how that double posted--I only clicked on submit once, and only had this pop up once.

Maybe it was a reverse headstock plot?

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It wasn't Willy-Nilly, it was at crows.

I used to own two Reverse 68 Headstock Strats but I don't recall having any problems tuning at all.

Theres no difference at all, unless your a purists whos seeking the exact sound of a reversed headstock 'sound', and differently angled bridge pickup.
There really isn't any sound difference to me. I certainly wouldn't spend more on the different 'sound aspect' selling point. To me, the reverse headstock just looks good.

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There is something about the reverse headstock that just evokes energy, power and vigor, like an angry beast. I guess it't the "pointing up" that gives this effect.

I have obviously seen footage of Hendrix, but recently saw John Mayer play one and it just looked awesome.

I really like big head stocks, and the reverse shape just adds a new dimension. I'd love to own one and was actually very close to buying a wonderful speciment recently, but it was on ebay and the seller never responded to my questions. I wish I had taken the plunge anyway - it had a beautiful tinted maple neck...

There is no change in tension. A string of a particular diameter, strung between two fixed points, and tuned to a particular note will be unaffected by the length of the string beyond the nut or bridge.

However, the effect of the vibrato tailpiece does indeed change. All strings are changed in length by the same percentage when the bar is depressed. But each string has a different actual length, and it is the actual length from bridge to tuning machine that is important here, because the strings slide in the nut in response to the action of the bar. It should be obvious that a locking nut renders this inoperative.

With a conventional headstock, the shortest strings are the low strings. When the bar is depressed the actual length of the low string changes at a higher percentage than the percentage change in the high strings. That means that for a given degree of depression, the low strings drop more in pitch.

With a reversed headstock, the high strings drop in frequency more than the low strings when the bar is depressed.

Now you know why Jimi Hendrix was able to get such wild pitch swings out of his high strings when using the bar. It's at least partially the reversed headstock. Plus he was strong.

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