Neck wood effects on tone

[robt57]

I see Warmoth has a few 'No Finish Required' Neck. The woods are Canary, Padouk, Kindwood, Pau-ferro combos.

Any strong influence on tone any of these woods in neck construction may exhibit one 'WOOD' want to be aware of before finding out the hard way?

I am thinking one of these with SS fret [tone influence?] for a near zero wear/maintenance neck. Discuss?

Ciao

[Tom S]

Well, since no one can tell you with any certainty how a maple neck will influence the sound of your guitar, if at all, they're sure not going to be able to tell you how a neck made out of canary, paduok, kingwood, or pau ferro will influence it...outside of this anecdote or that, which really can't tell you anything about what your guitar will sound like.

As for the SS frets, well, the same pretty much applies, although theoretically the fret material might have greater potential to influence tone. Relatively few people have ever even used SS frets, though.

The unfinished aspect is the interesting factor here, as it directly relates to feel and therefore playability aspects. I have one neck from Warmoth that did not require a finish and it is very enjoyable to play. Naked wood is nice.

[odiemann]

This is part of the reason for the solid rosewood neck I bought recently. I plan to set up a standard telecaster and switch both necks on and off with no other changes. I will record some songs with each combo. I am not anticipating that most people will really hear a difference. I don't know yet though.

My premise is: if a solid rosewood neck can not produce a clearly different tone, then how could a rosewood board?

[Mark Davis]

Originally Posted by Tom S

Well, since no one can tell you with any certainty how a maple neck will influence the sound of your guitar, if at all, they're sure not going to be able to tell you how a neck made out of canary, paduok, kingwood, or pau ferro will influence it...outside of this anecdote or that, which really can't tell you anything about what your guitar will sound like.

As for the SS frets, well, the same pretty much applies, although theoretically the fret material might have greater potential to influence tone. Relatively few people have ever even used SS frets, though.

The unfinished aspect is the interesting factor here, as it directly relates to feel and therefore playability aspects. I have one neck from Warmoth that did not require a finish and it is very enjoyable to play. Naked wood is nice.

Agree with this 100%.

The only way to find out is assemble the guitar and see how a certain neck matches up to your body. Might sound dark might sound too bright or might sound just right.

[Telemarkman]

Originally Posted by Mark Davis

Agree with this 100%.

The only way to find out is assemble the guitar and see how a certain neck matches up to your body. Might sound dark might sound too bright or might sound just right.

This is the only certain way to find out. Everything else is pure speculation. JMHO.

[Mark Davis]

Originally Posted by Telemarkman

This is the only certain way to find out. Everything else is pure speculation. JMHO.

Kinda like looking at a chair and wondering how comfortable it would be without sitting down on it.

[Telemarkman]

Originally Posted by Mark Davis

Kinda like looking at a chair and wondering how comfortable it would be without sitting down on it.

[Trimmed&Burnin]

Well,,,, to be the devil's advocate,,,
Heavier necks (1 inch heavey C profile) really do affect the tone compared to a super thin neck made of the same material. I've used light weight, softer mahogany for necks and they make the guitar (same body) sound different than a hard maple neck.
Canary, Kingwood, Padouk etc are all very close in density so you probably wont hear much difference between any oll these, all things being equal. Assuming that the wood has been chosen properly and the neck well constructed any of these should make a nice neck. You probably wont hear "much" difference in tone between these woods and a standard maple neck considering that these are Warmoth necks. The nice thing is that they feel so nice when you play them, I've heard that stainless frets are a little brittle sounding but dont have enough experiance with them to make any statements one way or the other.
If you're going to buy a neck like this you owe it to yourself to contact USACG, talk to Tommy. http://www.usacustomguitars.com

[Ronkirn]

The only way to find out is assemble the guitar and see how a certain neck matches up to your body.

Mark hit the nail on the head there.

Many forget, the guitar is an amalgam of many components coming together, and brought together by someone with a bit of knowledge about the process.

Often you can disassemble a guitar that sounded relatively “dead”, reassemble it, and find a whole new character without changing a thing. . . without replacing a single component.

As for the tonal character of the lumber the parts are made of… some woods do have a certain character, but in an electric guitar that can be subtle. For instance, should you make an all maple tele (maple is reported to be bright) then duplicate it in all Mahogany, (rumored to be more mellow) Then play each in a blind test situation, a tech can easily “screw” with ya by simply cranking the tone controls on the amp.

That’s why I tend not to steer guys away from what they want. Some want a completely traditional vintage look; others want dyed spalted maple bodies and rosewood necks. When they ask me how will they sound, I say, I don’t know, can ya play? If the answer’s yes, they will sound great, if No…. well. . . .

To me, the important thing in choosing the guitar and it’s parts is, are they what ya want… if you allow someone else to sway you off target, sooner or later you’re gonna be wondering if ya made the right choice.

Someone says; don’t forget the other 90% of the tone equation, the amp. I can’t tell ya how many guys buy a hellova guitar, the when home call and gripe about the sound. When I ask them about the amp, it’s some little Made in China wimp with a replaced Radio Shack Speaker. Sorry guys, aint no way 10 watts RMS cranked up to 10, played in a 9 X 12 room is gonna sound like a Stack of Marshalls.

So, pick a wood you really like, and learn to play the booger…. You’ll be glad ya did.

Ron Kirn

[Gilamnstr]

Great post, Ron.

[Fatmanstratman]

Originally Posted by Ronkirn

Someone says; don’t forget the other 90% of the tone equation, the amp. I can’t tell ya how many guys buy a hellova guitar, the when home call and gripe about the sound. When I ask them about the amp, it’s some little Made in China wimp with a replaced Radio Shack Speaker. Sorry guys, aint no way 10 watts RMS cranked up to 10, played in a 9 X 12 room is gonna sound like a Stack of Marshalls.

Ron, you nailed it right there....

[robt57]

Great answers all. Thanks for making this a good thread.

[odiemann]

Well,,,, to be the devil's advocate,,,
Heavier necks (1 inch heavey C profile) really do affect the tone compared to a super thin neck made of the same material. I've used light weight, softer mahogany for necks and they make the guitar (same body) sound different than a hard maple neck.
Canary, Kingwood, Padouk etc are all very close in density so you probably wont hear much difference between any oll these, all things being equal. Assuming that the wood has been chosen properly and the neck well constructed any of these should make a nice neck. You probably wont hear "much" difference in tone between these woods and a standard maple neck considering that these are Warmoth necks. The nice thing is that they feel so nice when you play them, I've heard that stainless frets are a little brittle sounding but dont have enough experiance with them to make any statements one way or the other.

Not really too much on the side of demon lawyering at all. There are lots of assumptions on both sides of this issue. There is some truth in the amp issue, but given the same amp, and exactly same guitar, save the neck is the original question.

People hear exactly what they want to hear (or read) the rest they filter out because it disturbs their porthole or perception.

The question of neck tone wood affecting the tone of a given guitar and rig still has not (but can be) answered with some scientific certainty.

[Murphy Slaw]

To me, neck, esp fretboard wood, is more a matter of feel.

I gigged a rosewood fretboard Les Paul for 14 years. Wore the frets off it. Borrowed a Strat (maple) one night and HAD to have one. Ended up with a Tele, maple.

I find I "dig in" to different fretboards differently, and that is going to have a MAJOR effect on the tone.

Good thread though.

Murph.

[Nick JD]

A maple/rosewood neck sounds exactly the same as a carbon/6061 alloy semi-hollow neck with the same pickups, strings and amp.

Doesn't feel the same though!

[tdowns]

Originally Posted by Ronkirn

......

That’s why I tend not to steer guys away from what they want. Some want a completely traditional vintage look; others want dyed spalted maple bodies and rosewood necks. When they ask me how will they sound, I say, I don’t know, can ya play? If the answer’s yes, they will sound great, if No…. well. . . .
......

Someone says; don’t forget the other 90% of the tone equation, the amp. I can’t tell ya how many guys buy a hellova guitar, the when home call and gripe about the sound. When I ask them about the amp, it’s some little Made in China wimp with a replaced Radio Shack Speaker. Sorry guys, aint no way 10 watts RMS cranked up to 10, played in a 9 X 12 room is gonna sound like a Stack of Marshalls.

So, pick a wood you really like, and learn to play the booger…. You’ll be glad ya did.

Ron Kirn

Ron Kirn, I love ya man!!!! Thanks for contributing here.

[Pete Galati]

Originally Posted by robt57

I see Warmoth has a few 'No Finish Required' Neck. The woods are Canary, Padouk, Kindwood, Pau-ferro combos.

Any strong influence on tone any of these woods in neck construction may exhibit one 'WOOD' want to be aware of before finding out the hard way?

I've never tried Canary, Padouk, Kindwood, Pau-ferro.

Since it's pretty difficult to predict what's going to happen with any guitar, and what it'll be used for, I'd say give it a try if you have a non traditional wood you want to try for a neck.

I don't think percents apply equally from person to person, or setup to setup.

[Ronkirn]

It ain't rocket science... I have never heard cruddy sound coming from what ever a great guitarist was playin', never.... but I have heard some real caca coming from very expensive setups being played by guys that didn't have a clue.

It's not the equipment, it's never been the equipment, it's never gonna be the equipment... as long as a computer isn't involved...

Bottom line, if you want THE sound, you're just gonna hafta learn what you're doing with the equipment you've got.

Ron Kirn

[odiemann]

It ain't rocket science... I have never heard cruddy sound coming from what ever a great guitarist was playin', never.... but I have heard some real caca coming from very expensive setups being played by guys that didn't have a clue.

It's not the equipment, it's never been the equipment, it's never gonna be the equipment... as long as a computer isn't involved...

Bottom line, if you want THE sound, you're just gonna hafta learn what you're doing with the equipment you've got.

Ron Kirn

True! But what does it have to do with his original question?

[Ronkirn]

But what does it have to do with his original question?

The original question, well actually there is no question, just a suggestion that a specific component found in a guitar will influence the tone dramatically. The inference being that one type may “improve” tone while another may degrade same, a purely subjective statement.

[quote]Any strong influence on tone any of these woods in neck construction may exhibit one 'WOOD' want to be aware of before finding out the hard way? [quote]

“Finding out the hard way” suggests there would be quantitatively poorer tone from a specific lumber.

My retort simply poses the equally subjective notion that the tone is meaningless as long as the guitar is playable, and played by a real talent. No one ever complains about the tonal quality produced by the equipment used during a quality performance. However, it doesn’t matter how superbly the harmonic overtones, ring when a spectacular guitar is played by a neophytic amateur, the music, and music is what it’s all about, will sound terrible. Music is a composite of many varying tones.

Or to communicate with those of a younger mind set… Dude…. If ya can play the darn guitar, it don’t matter what you drag up onto the stage…. Everyone’s gonna be starry eyed at your talent.

For those that would argue, consider all the great guitarists you have heard over the years, playing everything from beat-up POS Danelectros (made of Masonite) to horribly beat-up 50 year old Fenders…. I betcha you cannot find one single person (that actually knows anything) that ever commented on how crummy the guitar’s tone sounded during the performance. Now, of course, after the fact, during the BS session over a few beers, somebody might try to woo his buds with his immense knowledge of all things guitar and make some kinda lame comment, but I did throw in the qualifier above, “that actually knows anything”

Ron Kirn

[Murphy Slaw]

Okay......... Here's one.

The guitar solo in "Let It Be" by George and his coveted Rosewood Tele.

The tone sucks, the solo sucks, ect.

George HAD to know the Beatles were about to end. If this were me, I would have put a little time into the solo. A little thought into the tone.

He was rich. He was a guitarist. He could buy any amp he wanted and tweaked his solo for a little tone. Granted the Tele could do it, but to me it sounds like a beginner looking for a note.

I've always hated that solo because of the lack of interest.

Just me.

Hey, I get beat up here all the time.

But, I'm well armed!

Murph.

[boris bubbanov]

I know better than go in the lion's den, but here goes.

Ron, you will sell more fine guitars for more money if you let the casual player believe your product will save the day for him, at least in a few cases. I guess it can get stale building for average players, but they often have more money. I say let's go along with them. The world is a richer environment with lots of fine guitars.

Secondly, you can't convince me that the best players don't get inspiration, and immense satisfaction out of playing guitars that are not junk. This alone is sufficient justification for more great guitars, made out of the best possible materials, using the best techniques and the best craftspeople.

Sure, Terry can tease pleasing sounds out of a piece of MDF, but by the by all great players need to be properly nourished with the better playing, better sounding guitars; the fact that he can make do with less does not negate the desperate need for great guitars.

And as you work you way down the ladder, guys like me need the good stuff just as much, maybe more. Or we buy a summer condo.

It is good for our souls.

Ok, Romans. Thumbs Up? Or Down?

[PJ]

I had my vintage Tele refretted with stainless steel. I thought long and hard about it becuase if its value, but decided to have it done anyway. Why? Well, I played one that the luthier had done and I liked the feel. They're as smooth as glass. And I wanted to be able to play it rather than keep it in the closet. I bought-into the durability thing, too. But, there is a snappier tone that adds some clarity, so I find myself using less treble or backing-off the tone pot a bit. But all things considered, they're nice. But, they do affect tone a little. I don't want to open the "rosewood vs. maple" tone debate, though. I