#4
The neck resonates, therefore contributes to a guitar's tone.
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#5
Quote by Pac_man0123
Yep. Probably not VERY noticeable but i'm pretty sure in order of brightness (high to low) it goes:


1) Maple
2) Ebony
3) Rosewood


I'm pretty sure ebony's denser than maple and therefore brighter.
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#6
And If Its A Solid Body With The Neck (Not Bolt On) It Will Resonate All The Way To The Head Of The Guitar. If The Wood Is Thick It Will Be A Deep Crunchy Sound, If Its Light You Get A Lighter Sound.. So Rose Wood Is Thick Wood, So You Get Thick Sound, Maple Is Thin So Yeah... See Where This Goes?
Last edited by TooMuch2Waste at Mar 2, 2009,
#9
ebony has a real deep sound almost dark . not bright like rosewood and def not looks feel too the more solid body the gutiar the better the sound quality . hence why a les paul is a tank and sounds amazing
#10
Quote by TooMuch2Waste
And If Its A Solid Body With The Neck (Not Bolt On) It Will Resonate All The Way To The Head Of The Guitar. If The Wood Is Thick It Will Be A Deep Crunchy Sound, If Its Light You Get A Lighter Sound.. So Rose Wood Is Thick Wood, So You Get Thick Sound, Mahogany Is Thin So Yeah... See Where This Goes?

Why the **** do you capitalize every word? That's.. jesus, I don't even have a word for that. Just stop. Please, for the sake of me not jumping through the internet and strangling you, stop.
#12
Fretboard woods have a huge impact on the overall tone. I've noticed that necks, and fretboard woods have a bigger impact than the body wood.

You get the most "snap" or "twang" from the fretboard woods. For instance, les pauls have a really bouncy tone while Ibanez with the maple fretboard are bright and snappy.
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#13
Quote by SlashYourFug
Why the **** do you capitalize every word? That's.. jesus, I don't even have a word for that. Just stop. Please, for the sake of me not jumping through the internet and strangling you, stop.


They don't, it's what UG does when you have it in caps lock.
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#14
Quote by shredderkidd
ebony has a real deep sound almost dark . not bright like rosewood and def not looks feel too the more solid body the gutiar the better the sound quality . hence why a les paul is a tank and sounds amazing

Uh... ebony is brighter than maple, and most les pauls traditionally use rosewood, not ebony.
#15
Quote by shredderkidd
ebony has a real deep sound almost dark . not bright like rosewood and def not looks feel too the more solid body the gutiar the better the sound quality . hence why a les paul is a tank and sounds amazing
This could not be more wrong.



Anyhoo, fretboard woods make a huge difference to tone. Over at the Warmoth forums it's become roundly accepted that neck and fretboard woods makes a bigger difference to tone than body wood does.

Generally Ebony is the brightest with the most sustain, hard maple is almost as bright with almost as much sustain, then rosewood is a medium-toned wood with better attack. Flame maple is also sometimes used as it has the sustain and feel of hard maple but the tone isn't quite so bright. Ziricote is also a fantastic wood choice for fretboards since it's tonally like rosewood but with longer sustain, though it is a little on the expensive side.
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#17
I don't remember what company used to make the guitars im thinking about. They had Cherry fretboards... usualy LP SG and strat style guitars, I've only played 2 of them at a pawn shop.
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#18
Honestly I couldnt tell the difference between two different fretboards, maybe somebody with keener ears could but by the time you run it through an amp I doubt its important.
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#19
Quote by Whiskky
I'm sorry MrFlibble, but could you shed some light on how the neck and fretboard woods have more impact on tone than the body wood? I'm finding it hard to understand.

it doesn't, necesarily. Every piece of a guitar resonates and the string vibrate against frets that are pushed into the fretboard, so, the strings vibration is absorbed by the fretboard.
Ebony is bright, Maple is a touch darker, though not by much, and Rosewood is a darker tonewood.

Every peice that the strings come into contact with and even the neck wood make an impact on overall tone. A Mahogony necked guitar with a rosewood fretboard and mohogony body will sound much darker than a guitar with an ash body and maple neck and maple fretboard. Even the headstock shape, nut material, bridge material, mass and tuners will effect sustain and tone.

It's not just a flat, "this peice of wood gives you this sound, while this sounds like this," there's a lot to do with all the other parts, as well.
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#20
Well I'm not going to start giving a physics lession on the subject, but here's two basic way to check it out for yourself.

1) Play a note or chord, any note or chord. Feel how much more the neck is vibrating than the body.

2) Just look at the makeup of a guitar. The strings make more contact with the neck than the body. The pickups on most guitars never contact the body wood, and are closer to the strings than anything else, usually.


Or for a more expensive way,

3) Get a load of necks and bodies of different woods but the same everything else, and mix them all around. You'll very quickly notice there is a bigger tonal difference between the same body with a different neck than there is between the same neck with a different body.



Bear in mind I'm talking about wood species. I'm not saying an ES-335 body and a BC Rich Bich will sound the same so long as the necks are the same. I'm not saying the only thing that makes a difference between a Strat and a Les Paul is the neck. I'm saying if you got two korina-bodied Strats, one with a maple neck and the other with a mahogany/rosewood neck, there would be a much bigger difference than if you got two Strats which both had maple necks but one had a body of korina and one had a body of mahogany.



Quote by Thomme
words

Well yes, but I assume that would be a given to anyone with a third of a working brain.
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Last edited by MrFlibble at Mar 2, 2009,
#21
Quote by Snapple
Honestly I couldnt tell the difference between two different fretboards, maybe somebody with keener ears could but by the time you run it through an amp I doubt its important.

Rosewood is kinda rough on the fingers, Ebony is nicer, Maple is sex.
Thats my theory of the feeling of fretboards, Not the tone.
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#22
Quote by MESAexplorer
Fretboard woods have a huge impact on the overall tone. I've noticed that necks, and fretboard woods have a bigger impact than the body wood.


same here. if the guitar has a trem, anyway.
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Quote by K33nbl4d3
I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

Quote by K33nbl4d3
Presumably because the CCF (Combined Corksniffing Forces) of MLP and Gibson forums would rise up against them, plunging the land into war.

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#23
Quote by Whiskky
I'm sorry MrFlibble, but could you shed some light on how the neck and fretboard woods have more impact on tone than the body wood? I'm finding it hard to understand.

interesting bit of information about it here on Dave Gregory's website www.guitargonauts.info (guitarist from XTC), regarding the Gibson ES-335 he used for most of his lead work on the earlier records:

The headstock had been smashed off and bodged with what looked like a piece of 4×2 glued in with Araldite, much of which had found its way all over the neck


The previous owner had coil-tapped the pickups which, together with the dodgy headstock repair, gave the guitar a uniquely wiry tone


and then the paragraph after the guitar was repaired:
One thing was lost forever. With the headstock now professionally repaired, the guitar sounds exactly like every other early-1960s ES-335. That peculiarly nasal twang when the bridge pickup was tapped was an accident resulting from the botched repair done by the previous owner, proving beyond doubt the significance of the neck to the sound of a guitar.


I've heard these early records, and i can tell you, it sounds nothing like an ES-335 would normally sound. I always thought it was a strat or a tele.
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#24
Quote by MrFlibble
Well yes, but I assume that would be a given to anyone with a third of a working brain.

I'm sorry... what?
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#25
Okay so not meaning to hi-jack the thread, but what about a Synthetic/Ebanol fretboard? How do those usually stack up against normal fretboard woods?
#26
Quote by Snapple
Honestly I couldnt tell the difference between two different fretboards, maybe somebody with keener ears could but by the time you run it through an amp I doubt its important.


that's the most sense i have heard here.
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#27
Quote by Dave_Mc
same here. if the guitar has a trem, anyway.

+1
^Note: Probably sarcastic
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#28
Quote by Thomme
I'm sorry... what?
It simply means that everything you said was rather stating the obvious to anyone who wasn't mentally handicapped. I.e. any person should be able to have just figured it all out anyway.
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#29
Quote by Dave_Mc
same here. if the guitar has a trem, anyway.




I've noticed huge differences in a lot of the aspects of the guitar from trying out a load of PRS at a local shop. When you have about 40 guitars all built nearly identical (22's, 24's, and single cuts 24.5" and 25") you can really find what wood combos sing, and so forth. Especially when you're playing through a very organic amp (Zinky FTW!)
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#30
Although looks like everything has been said already, I'll throw my .02 in. I had only had rosewood fretboards and then switched to maple (we're talking on basses here...I have only had rosewood on guitars, although I have played some maple ones and they seemed bright). From personal experience I can say maple is significantly brighter. If you can't notice a large difference, I imagine you need to work on your listening skills.
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#31
Quote by MESAexplorer


I've noticed huge differences in a lot of the aspects of the guitar from trying out a load of PRS at a local shop. When you have about 40 guitars all built nearly identical (22's, 24's, and single cuts 24.5" and 25") you can really find what wood combos sing, and so forth. Especially when you're playing through a very organic amp (Zinky FTW!)


yeah, definitely.
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Quote by K33nbl4d3
I'll have to put the Classic T models on my to-try list. Shame the finish options there are Anachronism Gold, Nuclear Waste and Aged Clown, because in principle the plaintop is right up my alley.

Quote by K33nbl4d3
Presumably because the CCF (Combined Corksniffing Forces) of MLP and Gibson forums would rise up against them, plunging the land into war.

Quote by T00DEEPBLUE
Et tu, br00tz?
#32
Quote by MrFlibble
It simply means that everything you said was rather stating the obvious to anyone who wasn't mentally handicapped. I.e. any person should be able to have just figured it all out anyway.

didn't realize that the idea of how tonewoods work was common knowledge among the general population. Maybe elitism IS the answer
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#33
Quote by Thomme
didn't realize that the idea of how tonewoods work was common knowledge among the general population. Maybe elitism IS the answer
It's not elitism at all.

All you said was 'every part of the guitar effects the tone' (paraphrased, obviously), which really is just common sense. It didn't help you took an opposing stance when nobody had said anything contradictory in the first place.
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