GIVEAWAY Let's Build a RIG-TALK Signature Guitar- DAY 4 Neck Fingerboard Frets READ THE OP!

[Smash]

From what I recall they measured and ruled that out for the body too, and attributed it to other elements. But I'm not here to argue right now (once I get a laser vibrometry set-up that could change, though...), just wanted to offer up that I think there isn't any issue with the current wood selection.

I am curious to see what you find. I can see how the neck could matter for sustain, but I have always been skeptical about body. I have played all kinds of guitars, though, and never had an issue with sustain...so at the end of the day, I just think about looks and feel.

Nitro feels amazing, especially the neck. I have never been bothered by a fretboard being ebony or rosewood, but I have never tried maple.

 

[7704A]

Train track

Bridge cables.

 

[NowYou'rePlayingWithPower]

From what I recall they measured and ruled that out for the body too, and attributed it to other elements. But I'm not here to argue right now (once I get a laser vibrometry set-up that could change, though...), just wanted to offer up that I think there isn't any issue with the current wood selection.

I never indicated that there was anything wrong with the wood choices only asked if people were familiar with any existing models using those combinations. Not an argument, but an overall rebuttal to what I believe is a myth; Who is they? Every material and density variation on Earth vibrates and sustains those vibrations at different frequencies. The strings are attached to the bridge and not just the tuners/nut contact, and the neck is attached to the body, etc... So, it doesn't sound to me like they were scientists, engineers, or possibly even musicians.

I don't personally need to measure to know that every bit from the strings themselves to fret or hardware material and even glue makes a difference in response. While not all of the materials may make a sonic difference coming out of the amp; the totality of the feedback is absolutely reliant on every aspect of materials and construction. Some more than others. Classical and acoustic instrument are good examples of this, imo. Aluminum is the best tonewood.

 

[braintheory]

I never indicated that there was anything wrong with the wood choices only asked if people were familiar with any existing models using those combinations. Not an argument, but an overall rebuttal to what I believe is a myth; Who is they? Every material and density variation on Earth vibrates and sustains those vibrations at different frequencies. The strings are attached to the bridge and not just the tuners/nut contact, and the neck is attached to the body, etc... So, it doesn't sound to me like they were scientists, engineers, or possibly even musicians.

I don't personally need to measure to know that every bit from the strings themselves to fret or hardware material and even glue makes a difference in response. While not all of the materials may make a sonic difference coming out of the amp; the totality of the feedback is absolutely reliant on every aspect of materials and construction. Some more than others. Classical and acoustic instrument are good examples of this, imo. Aluminum is the best tonewood.

I do really love my 2 all aluminum EGC guitars. I still though overall like more my wood guitars. More growl, warmth, imo more soul to the sound, but the high end, clarity, sustain and zing of the metal guitars is awesome. For cleans they can sound almost like a harpsichord when playing classical stuff

 

[Smash]

I never indicated that there was anything wrong with the wood choices only asked if people were familiar with any existing models using those combinations. Not an argument, but an overall rebuttal to what I believe is a myth; Who is they? Every material and density variation on Earth vibrates and sustains those vibrations at different frequencies. The strings are attached to the bridge and not just the tuners/nut contact, and the neck is attached to the body, etc... So, it doesn't sound to me like they were scientists, engineers, or possibly even musicians.

I don't personally need to measure to know that every bit from the strings themselves to fret or hardware material and even glue makes a difference in response. While not all of the materials may make a sonic difference coming out of the amp; the totality of the feedback is absolutely reliant on every aspect of materials and construction. Some more than others. Classical and acoustic instrument are good examples of this, imo. Aluminum is the best tonewood.

In acoustics, there is no fucking doubt that the tonewoods matter. I remember when I was first shopping for one. It was insane. I am not saying it doesn't matter in electrics, but I have hear some pretty compelling clips of a guy making a guitar out of a shovel sounding great. I have only had two guitars that really fucking felt dead. One was a basswood Cort. The other was a beautiful black limba Kiesel that I had built.

 

[NowYou'rePlayingWithPower]

I do really love my 2 all aluminum EGC guitars. I still though overall like more my wood guitars. More growl, warmth, imo more soul to the sound, but the high end, clarity, sustain and zing of the metal guitars is awesome. For cleans they can sound almost like a harpsichord when playing classical stuff

I'm pretty exited for my Etherial to see what it's all about. You own/owned one, right? Carbon fiber variant or something along those lines? I have an aluminum body in the works and should be interesting.

 

[7704A]

I never indicated that there was anything wrong with the wood choices only asked if people were familiar with any existing models using those combinations.

Apologies, I interpreted your original post as being unsure about how a possibly unusual configuration would turn out.

Who is they?

The scientists and engineers who contributed to the body of literature I mentioned.

Some more than others.

Agreed, and my current understanding is that the body wood of a solid-body electric guitar contributes too little to matter.

 

[braintheory]

I'm pretty exited for my Etherial to see what it's all about. You own/owned one, right? Carbon fiber variant or something along those lines? I have an aluminum body in the works and should be interesting.

Yeah mine was all carbon fiber with a metal fretboard. An all aluminum one should be very cool. The carbon fiber one had a lot of good things about it, but wasn’t a keeper for me with some of my other guitars

The scooped neck shape and fanned frets may sound off putting to some, but I found it great to play with no adjustments needed for me and had no other guitars with either of those features

 

[7704A]

I do really love my 2 all aluminum EGC guitars.

This company? https://www.electricalguitarcompany.com/
I wish they had V's.

 

[NowYou'rePlayingWithPower]

In acoustics, there is no fucking doubt that the tonewoods matter. I remember when I was first shopping for one. It was insane. I am not saying it doesn't matter in electrics, but I have hear some pretty compelling clips of a guy making a guitar out of a shovel sounding great. I have only had two guitars that really fucking felt dead. One was a basswood Cort. The other was a beautiful black limba Kiesel that I had built. View attachment 387395

Definitely not arguing about final tone out of an amp, just the feel you get from the guitar which in turn inspires how/what you're playing, where you go next, etc.. if that makes sense. Maybe it's something I notice more than others being nearly deaf, dunno. I also don't believe that the wood choice itself is as important as the exact piece of wood is. Moisture content, density, etc.. all play a role. If you go through your guitars and play different notes and chords up and down the fingerboard I'm sure you will find those sweet spots that stand out more than others.

I find them to be different even among the same model and wood selection. I feel a lot of it has to do with previously mentioned aspects. Wood to me is more of a baseline of what to expect than exactly what to expect. If I want more/less feedback out of an instrument, a change in hardware metal can even do that, imo. My last Kiesel was also a dud and unispiring, so that doesn't surprise me. Anyways, sorry for the rant

 

[7704A]

If you go through your guitars and play different notes and chords up and down the fingerboard I'm sure you will find those sweet spots that stand out more than others.

If I remember correctly, the data indicates that the neck plays a big role in this. How it absorbs string vibrations, etc., which is influenced by the mechanical characteristics of the neck wood like you mentioned.

 

[Smash]

Definitely not arguing about final tone out of an amp, just the feel you get from the guitar which in turn inspires how/what you're playing, where you go next, etc.. if that makes sense. Maybe it's something I notice more than others being nearly deaf, dunno. I also don't believe that the wood choice itself is as important as the exact piece of wood is. Moisture content, density, etc.. all play a role. If you go through your guitars and play different notes and chords up and down the fingerboard I'm sure you will find those sweet spots that stand out more than others.

I find them to be different even among the same model and wood selection. I feel a lot of it has to do with previously mentioned aspects. Wood to me is more of a baseline of what to expect than exactly what to expect. If I want more/less feedback out of an instrument, a change in hardware metal can even do that, imo. My last Kiesel was also a dud and unispiring, so that doesn't surprise me. Anyways, sorry for the rant

Don't ever apologize for a rant. If you think very simply about why we are all here, it is because we are all overly obsessed with something that really isn't that fucking important. And yet here we all are.

Playing an acoustic and singing is how I got into this buisiness, and I go to a different place when doing so....But when I crank a fucking amp up to 110+dbs and hit those goddamn strings, I feel like a God in a way that maybe only riding my Harley makes me feel. We are all here wanting to share in the feeling with others that we know have the same experiences. A lot of us are looking for answers that we may never find, and really most of us aren't even asking the right questions.

 

[Smash]

Also, how can Kiesel make such beautiful yet uninspiring guitars? Someone should study that shit.

 

[7704A]

I feel like a God in a way that maybe only riding my Harley makes me feel.

The obvious next step is to crank your amp to 110+dB while riding your Harley.

 

[NowYou'rePlayingWithPower]

Apologies, I interpreted your original post as being unsure about how a possibly unusual configuration would turn out.

The scientists and engineers who contributed to the body of literature I mentioned.

Agreed, and my current understanding is that the body wood of a solid-body electric guitar contributes too little to matter.

Well, that's what I'm asking I suppose. What literature, who are the engineers? This wasn't an argument or slight against you, but I would love to see their experiments and data. To me it's pretty easy to just say tuning fork to get the point across, if that makes sense.

 

[braintheory]

In acoustics, there is no fucking doubt that the tonewoods matter. I remember when I was first shopping for one. It was insane. I am not saying it doesn't matter in electrics, but I have hear some pretty compelling clips of a guy making a guitar out of a shovel sounding great. I have only had two guitars that really fucking felt dead. One was a basswood Cort. The other was a beautiful black limba Kiesel that I had built. View attachment 387395

Yeah I mean through great amps and speakers you can still get a great sound, but why not also have great sounding guitars too

 

[braintheory]

This company? https://www.electricalguitarcompany.com/
I wish they had V's.

Yes that’s the one. I have 2 of their guitars with double cutaway LP type shapes. Love them

 

[braintheory]

Also, how can Kiesel make such beautiful yet uninspiring guitars? Someone should study that shit.

I mean Suhr, Tom Anderson, PRS, Vik, Barlow and many others do the same thing IME. I think they just try hard at doing everything great besides how they sound. Like a restaurant that’s great at everything besides how the food tastes

Let’s drench it in poly make it all nice and shiny or oil. But what about the sound? Who cares, it looks stunning

 

[7704A]

Well, that's what I'm asking I suppose. What literature, who are the engineers? This wasn't an argument or slight against you, but I would love to see their experiments and data. To me it's pretty easy to just say tuning fork to get the point across, if that makes sense.

It's unfortunately a bit scattered, but one collection of results would be this textbook: https://gitec-forum-eng.de/the-book/
Maybe I should create a thread just to chuck all the other resources as I find them again.

 

[NowYou'rePlayingWithPower]

Oh goodness, so I was asking about guitars that used these woods earlier and got a buy it now offer for two I have had in my cart on Reverb for weeks not realizing that they mostly have these specs (5 piece maple/walnut neck, ebony fingerboard, mahogany body) MIJ Jackson Dinkys. I almost want to buy them and just call it a day They have Gotoh 1996, but meh JB/JN pickups. Tempting, but going to continue down this path.