TLDW? Everyone knows that heavy is best. It's called heavy metal, after all.
:denzel:TLDW, I still have a 60 for the low B on my 24.75" Les Paul which oomphs like a motherfucker, not gonna change that for ye olde cork sniffer youtuberace who enjoys dental floss on his fiddle.
:agreed:I've said as much before - too many people ignore their picking hand when they play metal and only focus on the fretting bit. Palm muting requires attitude to sound good, it's why bitchpickers always sound sterile, especially when they slow down. The Sad But True riff is a great example - a big part of the reason that sounds so massive is because Hetfield is absolutely laying into the bridge with the meat of his palm.
Light strings for shredding, IMO, don't matter as much. If it's easier for you to rip up the widdly widdly stuff on 9s or 8s or whatever, by all means. But heavier strings respond better to having the shit beat out of them by your picking hand, especially when playing rhythms. Bitchpicked palm mutes will always sound like elevator music, whereas a heavy set of strings muted with gusto by someone playing with attitude will sound better and cooler 100% of the time.
Also, don't forget about guys like Phil Collen who use .13-56 for E Standard. :2c:SRV's influence is much to blame for the bullshit macho attitude about thick strings. Not him personally, but his influence.
I use different sets for different guitars and purposes. 9-42, 9-46, 10-46, 11-50.
I went away from 8-38, mostly for tinniness in the upper range and intonation problems in chording.
GTFO, For Whom The Bell Tolls is the quintessential Metallica palm mute song. Metallica are pretty much the palm mute band, I don't know how anyone could learn about palm muting from anywhere else.The Sad But True riff is a great example - a big part of the reason that sounds so massive is because Hetfield is absolutely laying into the bridge with the meat of his palm.
Did you not read that? I mean, you said "why it sounds so massive when Hetfield plays it", so I'm assuming you mean the studio version.I know you love your diatribes, but nowhere in my post did I say that SBT is the best example, only that it's a damn good example - which it is.
Play that riff right now. Bitchpick it, then play it like you mean it. It's instantly noticeable. The bitchpicked version doesn't sound like the song, but as soon as you throw some gusto behind it - voila.