Tue Jun 29, 2021 5:59 am
Tue Jun 29, 2021 10:38 am
Tue Aug 17, 2021 8:57 pm
Wed Aug 18, 2021 5:05 am
surfco wrote:Not this SH#T again...
Sat Sep 11, 2021 9:28 am
LarryNJ wrote:surfco wrote:Not this SH#T again...
Sat Sep 11, 2021 8:12 pm
bokonon82 wrote:If I were forced to choose, I've come to prefer the maple fretboard for reasons specific to the Comanche. I LOVE how unique and adjustable the z pickups are, BUT without some type of dampening, it can be a bit much. I don't recommend kicking on heavy distortion and the treble on 11. Thus, I keep treble turned down quite a bit and bass all the way up. Another dampener is the fretboard and the nature of maple leads to less resonance of those highs, which softens that sound. This is the only guitar I've ever owned where I definitely have a fretboard preference.
Sun Sep 12, 2021 5:55 am
Sun Sep 12, 2021 3:39 pm
LarryNJ wrote:Ahem... Well I will speak as a Bass Player (and sadly not a current G&L Bass Player; that'll change- BTW- I've had 4 so...
I digress-
Myself, I've always preferred maple , and my ASAT had a stupid-coool BE Maple 'board, as did my ordered SB-2, and CLF Commemorative L2K (oh how I miss that bass!) "Plain" maple on those bad-boys.
My M2000 had rosewood. It was in-stock at a dealer, and I loved it too.
Now I personally think of maple as having more brightness and snap than rosewood, but that may well be a mental thing.
I have basses with rosewood, maple, ebony and even a resin fretboard. ALL of them have "snap" which I believe is more due to the pups and the amp, and the signal chain, and my own attack/technique.
I'm sure tone woods matter, it's just that I put performance/playing before specs and endless discussion about such matters. All good.
I've seen forum-ites on the bass scene endlessly discuss their builds with selected woods, burl tops, chechen 'boards, and so on. All good too.
Who knows? maybe even the choice of wooden tone-knobs matters!
I say- play what you like, play G&L ( An ordered Kiloton may well be next for me, maple board included).
And to all you guitarists---WISH you played the BASS!! (jk jk)
Mon Sep 13, 2021 5:48 am
Mon Sep 13, 2021 6:45 am
neutralomen wrote:LarryNJ wrote:Ahem... Well I will speak as a Bass Player (and sadly not a current G&L Bass Player; that'll change- BTW- I've had 4 so...
I digress-
Myself, I've always preferred maple , and my ASAT had a stupid-coool BE Maple 'board, as did my ordered SB-2, and CLF Commemorative L2K (oh how I miss that bass!) "Plain" maple on those bad-boys.
My M2000 had rosewood. It was in-stock at a dealer, and I loved it too.
Now I personally think of maple as having more brightness and snap than rosewood, but that may well be a mental thing.
I have basses with rosewood, maple, ebony and even a resin fretboard. ALL of them have "snap" which I believe is more due to the pups and the amp, and the signal chain, and my own attack/technique.
I'm sure tone woods matter, it's just that I put performance/playing before specs and endless discussion about such matters. All good.
I've seen forum-ites on the bass scene endlessly discuss their builds with selected woods, burl tops, chechen 'boards, and so on. All good too.
Who knows? maybe even the choice of wooden tone-knobs matters!
I say- play what you like, play G&L ( An ordered Kiloton may well be next for me, maple board included).
And to all you guitarists---WISH you played the BASS!! (jk jk)
I appreciate what you're saying, but again, I have a simple scientific question.
When you take a solid slab of wood, a countertop, a plank, or a guitar body, and you knock it with your knuckle, you will get acoustical resonant properties from that object when you send vibrations through it. Nobody is disputing that. So, if measured acoustically, a wrap of the knuckle on any two pieces of maple will sound a bit different, to say nothing of other wood species.
With your electric basses though, The nut is touching the string. That's a contact point. The fret is touching the string. that's a contact point. The saddle is touching the string. That's the third and final contact point.
From there it's age of string, material of string, how you pluck, with a pick, slapping, rest stop, open pluck. From there it's the vibration of the string which is again contacting the nut, contacting the saddle, contacting the fret. it's a piece of metal floating in thin air. The tiny magnet and coil pick up that vibration like a tiny microphone. the rest of it is up to the wiring, cable, and amp.
If you send that string vibration into a soundhole of an acoustic, that's the "pickup." the resonance chamber is the "coloration" and you actually HEAR the acoustic qualities of the wood, like wrapping a hollow storage bin with your knuckle. The top is a diaphragm like a speaker or a drum. this amplifies your signal and sends it out.
So the question is this, in an electric signal like the one I described above, HOW do the acoustic properties of the little fingerboard slab get into the pole pieces? I understand you don't have much of a dog in this fight and acknowledge that your evidence is only your testimony and I appreciate that.
But this is the question that never gets answered. It is my contention that electric and acoustic instruments are fundamentally different and electric instruments' tones are not determined by the acoustic qualities of the solid components. Only exception, I think some objects will provide the string with more sustain, but contact points ie saddle, fret, and nut slot have the most to do with electric sustain.
Tue Sep 14, 2021 5:12 am