I put these two companies together as two of the more common examples of this scale length range, albeit they are distinct instruments. Most string companies sell one kind of formulation for 1o and it is what we al grew up playing, 10-46. It never felt the same from guitar to guitar, brand to brand. This came to mind when I developed the Telecaster formula based on a prototype designed by GCS founder, Francisco Gonzalez. When I would put it on a Les Paul, or any Gibson/Gretsch type of guitar, it didnt have the same vibe it got on the Fenders. The Tele basses end in 44.5... quite far from 46 as far as gauges are concerned. The shorter scales of the Les Paul and the 335 i was testing on, required more tension to work. I feel that the guitars' neck through body form and tail piece function are quite different from their longer scale, bolt on neck counterparts. This affects how strings react and informed me how to design a better set of 10s for these guitars and other guitars in general. It basically began the process I find myself in these days of testing and correcting old notions of what standard is and should be.
Standard Long Twist vs Trem Long Twist
When selecting your set, you will see these specifications. The Std Long Twist is a longer twist than any available on the market without over stepping bridges and saddles on stop tail type guitars. The Trem Long Twist refers to the noticeably long twists that guitars with bigsby's, floating tremolos, and tailpieces use. The only string of its kind that helps to keep your mind on your playing and not the stability of the tremolo or your string. The longer twists are stronger and more resilient.
Les Paul, 335 and other Gibson semi hollow
Like the Tele or Strat, the Les Paul is ubiquitous. The Super10s set was originally designed specifically for the Les Paul. I feel that because of the scale length (mostly) and the neck through body construction (secondarily) the guitar was activated quite differently than a bolt on neck. The Super10s is the set if you're into 10s.
The classic sound of a 335 going a crunchy on Mon Cheri Amour by Stevie Wonder never ceases to enchant me. The Gibson SemiHollow guitars are served best by two sets: Super10s and 11-50, for rock/pop and blues, respectively.
Also recommended are 11-50, 12-54 (recommended for full sized hollow body guitars)
It was always a mysterious guitar to me and one I was not fond of. Two good friends brought their late 60's SG's (one with a bigsby) to the shop for fitting and it game me a chance to really see and hear great players use the instrument and expose their potential. The SG is weird so I changed the plain second string on a set of 11-50 and was instantly pleased. The open D and the fingered d on the third fret, string 2 agreed and felt far more balanced. The point is to get clear tone and consistent intonation, it keeps an SG from sounding muddy while retaining all the fat.
Gretsches Solid and SemiHollow
The Super10 is definitely the right choice for any Gretsch. It is very twangy with solid punch and tone. But moving up to 11s, I recommend using the 11-49 to keep the twang. the next option up is the 11-52 set for deeper bass response. When we get to Gretsch hollowbody with a tailpiece, I've found that the 12-22.5w-52 set is well suited for the job. Always remember to leave me a note on the order page about what you guitar you play.