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looks like my SG project is coming up sooner than i expected, and i need to decide what to do with the bridge situation. i really like the look of a wraparound, but i'm wondering if there's a chance i might run into intonation issues using a compensated one, if i use different string gauges than they were designed for..? (i don't want to use a badass or similar)
i'm also interested in the sonic differences, are there any? or is the the material of the stopbar/wraparound more crucial to the sound? i know aluminium is supposed to sound warmer and fatter than brass or steel.

all advice you can give will be greatly appreciated

Applying the things said in the "beyond the bridge string lenght" thread..I can say a wrap around will increase some sustain and playability to the stock TOM..plus it should compesate (unless you use a very odd tuning)
I've seen some pros getting rid of the bridge/tailpiece system to go with a wrap around..especially the ones who solos a lot..(Angus Young, Jeff Beck, Pete Towshend, Tony Yommi..) Plus LP Juniors are well known for their playabilty..

mynameisjonas wrote: looks like my SG project is coming up sooner than i expected, and i need to decide what to do with the bridge situation. i really like the look of a wraparound, but i'm wondering if there's a chance i might run into intonation issues using a compensated one, if i use different string gauges than they were designed for..? (i don't want to use a badass or similar)
i'm also interested in the sonic differences, are there any? or is the the material of the stopbar/wraparound more crucial to the sound? i know aluminium is supposed to sound warmer and fatter than brass or steel.

all advice you can give will be greatly appreciated

If you get an intonatable wraparound (like the Pigtail or TonePros) you can set the intonation and have it perfect...no issues whatsoever.  Trust me you DON'T want a badass tone-sucker...but you already know that  :D  If you don't go with an intonatable Pigtail or TonePros the tuning still isn't that bad but you likely won't be able to get it perfect unless as you said you use the correct gauge strings with the "lightning" wraparound bridge that's made for an unwound G string (the vintage correct ones are compensated for a wound G).

I also personally believe that Aluminum makes a big tonal difference.  It's warmer, fatter, and also more airy and woody sounding while still having good sustain.

GUITARmole wrote:I also personally believe that Aluminum makes a big tonal difference.  It's warmer, fatter, and also more airy and woody sounding while still having good sustain.

I'm going to test this theory soon. I have an aluminum stopbar on the way from RS for my Classic. My R6 w/aluminum stopbar is pretty airy/woody/and even a bit bell-like (for an LP anyway) but I haven't put a regular stopbar on it to evaluate the effect of that single part.

Well, there are some difference imo. I got a wrap arround on the "Kimaxe" Hollowbody Jazzmaster/Surfcaster and it sounds very in "front" even a bit "strat" in a good way. String tension is very nice, but no overtones whatsoever. Tuning stability is very good. Ofcourse mine is a 25.5 scale one, so I guess an SG might differ a bit. But it's also "humbuckered" (toasters) overall very bell clear tones.
I think I get why the "solo" guys prefer the "wrap arround" vs. the "stop tail"

A P90 SG with a wraparound can actually get some "Twang"!