gnease, independent studies will have to be done to determine if any form of stress occurs by swapping fret boards on necks. Then we'll need a clean room. Can't have dust affecting tone. If we're going to control humidity, then we'll need to study which humidity level least affects tone and how long an item needs to be in that environment for the bulk of the changes to take place. We'll have to calibrate the playing machine each time through the tests. Oh, and if we train people to hear the dimension we want to test, then we are assuming that the tonal differences are of the same dimension.....
Damnitall. My head just spun off.
yeah you got it. half of what I wrote, was about lossy codec testing I used to direct for a former company. last time we rev'ed up the machine and did, a number of people on the losing side lost their jobs -- including me. totally blindsided. sometimes integrity sucks. fortunately, we all were picked up by a better company.
-=tension & release=-
OK, now that that horse has been beaten to death . . . let's go back to that bridge pin thing . . .
Ash or elm bridge pins . . . is there a sound difference?
You mean while playing, or as they hit the ceiling when changing strings? :mrgreen:
. . . . or the sound the cat makes . . . as it spits one up. :cry:
It's the rock that gives the stream its music . . . and the stream that gives the rock its roll.
. . . . or the sound the cat makes . . . as it spits one up.
ROFL
Roy
"I wonder if a composer ever intentionally composed a piece that was physically impossible to play and stuck it away to be found years later after his death, knowing it would forever drive perfectionist musicians crazy." - George Carlin
. . . . or the sound the cat makes . . . as it spits one up. :cry:
Huh???
"Feel what you play...play what you feel!"
Huh???
Not you, Cat . . . you know better than to swallow a bridge pin . . . :mrgreen:
It's the rock that gives the stream its music . . . and the stream that gives the rock its roll.
I like the feel of an ebony board better. I'm not sure why. Maybe it's harder than rosewood or maple. It could just be the guitar I have with the ebony. Although I've played some classical guitars with ebony boards and tended to prefer them.
Dave
Sometimes in life you get shown the light,
In the strangest of places if you look at it right.
Besides feel, doesn't the neck shape have an affect on "tone"? Some neck contours obviously have more mass (boatneck) than others (thinline). I don't mean to stir the pot but just a thought.
As far as my observations with my own strats, the clapton having a soft "v"/clapton shape maple fretboard and the MIM with a modern "C" shape rosewood fretboard and CS Texas Specials, there is a difference but the guitars are two different beasts. Sure the maple seems to have a little more spring in it's step and the rosewood seems relaxed if that makes sense but then again one has active pick ups and is twice as loud as the passives, especially with the TBX boost. My only complaint is not being able to get the MIM with a soft "v" or Clapton shape in either maple or rosewood from Fender, but that's just a few bolts away. :D
there has to be a sound difference. it would be impossible for there not to be one.
whether you'll notice it, i don't know.
I think everyhing affects the sound. I think the appropriate question should be ... Can anyone hear the difference? I'm thinking musicians do. There is definitely a feel difference cause maple boards tend to be finished.
"Work hard, rock hard, eat hard, sleep hard,
grow big, wear glasses if you need 'em."
-- The Webb Wilder Credo --
Knobs.
It's all bout the knobs you use. That's where the tone is. Abalone sounds better than skulls. Skulls sound quite hollow, hence why metal bands sometimes use them.
Skulls sound quite hollow, hence why metal bands sometimes use them.
You ought to qualify that statement . . .
to "SOME PEOPLE'S skulls sound quite hollow" . . . otherwise, some people might take offense. :mrgreen:
It's the rock that gives the stream its music . . . and the stream that gives the rock its roll.
It's obvious the knobs are where the tone is, it even has TONE written on them. Gawd, some people are really slow...
I'm with TR, can anyone really hear the difference?
And the Tone is in the knobs
"It's all about stickin it to the man!"
It's a long way to the top if you want to rock n roll!
And one other tone note. :D Just look at those two fret boards side by side, anyone can see that rosewood is a much darker tone than maple. It's obvious! :lol:
hate to get too serious in all the fun ...
so now consider it from the "tone starts at the fingers" PoV: does having a different material under finger, or neck contour in hand change the way you interact with your axe enough to be heard?
examples:
I'm positive the mass of a guitar changes the nature of my bending, vibrato and tremolo picking. low mass guitars don't "hold still" quite as well, so I sometimes find the need attack the strings differently and/or support the guitar body more. that changes how I play => changes timbre.
my glisses are smoother on ebony 'boards
okay, now back to our program: here's a knob reference (scroll down about a 3 or the way to A Beech Knob):
http://www.wired.com/gadgetlab/2007/11/10-awesome-gadg/
the link in that section goes to an "audiophile" volume control for which the Beech Knobs used to be available.
-=tension & release=-
