Does the type of wood really matter on a solid body?

[sully]

@Cagey

That is what I was wondering I guess. Without needing the exactly perfect tone that I imagine, can you generically take certain woods and lump them into a class, so that if one were to wish to use an exotic they cannot play themselves, there is at least a general idea of what the tone would be.

Thats enough for me. You guys must be talking about a much deeper level of things. Maybe if you have played a lot of these woods it matters. For me, I just want to know that if I purchase a Koa body that it won't sound like maple, that sort of analogy maybe.

Thanks to all for the infos. Much appreciated.

 

[Strat Avenger]

Whether the wood makes any difference is really a mute point isn't it? What would be more useful is whether placing woods in "tone classes" is accurate or not.

That's "moot", not 'mute'.  :toothy11:

 

[Strat Avenger]

Wood doesn't actually "have" tone.  Different wood species, as well as different densities of the same species reflect or absorb certain frequencies. Whatever frequencies are absorbed, are not being reflected into the string for the pickup to translate.

The same goes for bridges and nuts.

It would seem to me that a species like mahogany is thought to sound "warm" because it absorbs high frequencies, while reflecting lows and low-mids.  It also seems to me that a more dense wood (like hard ash) reflects more of the high frequencies than a less dense (swamp ash) piece would.

Some woods absorb highs and lows while reflecting the mids (basswood comes to mind).

A thick, hard finish should reflect more highs than a thin, nitrocellulose finish.

 

[stringtheorymusic]

We seem to have one of two possible choices here. Either all the guys who can hear the difference are all lying as in some conspiracy, or the guys who cant hear it are trying to debunk for pridefull reasons. I think it is possible the craftsman may not have the ears that the players have. Just a thought.

I've mixed and matched 15 plus necks/bodies over the years and still have many of them. I change things so much my wife calls them my "LEGOS". I've heard major changes depending on the wood (more so with singles). Even metals used for hardware seems to matter to varying degrees. If you cant hear it yet, well... its just like ear training for your music degree... each year/semester DOUBLES your ears ability hear at all levels. The untrained player would never have a clue about this process.

 

[sully]

That's "moot", not 'mute'.  :toothy11:

I know  :icon_biggrin: but it lended itself to the context lol.

It is interesting your thoughts on what is actually happening in the wood. I have no idea, never looked into it, but it does sound plausible.

Do finishes really make a difference then? I had not thought about that. I haven't really been concerned about the finish unless I get a wood that had nice grain, so a clear finish.

What sort of finish is used on warmoth guitars, for like a wood gloss clear?

 

[AutoBat]

What sort of finish is used on warmoth guitars, for like a wood gloss clear?

IIRC it's all poly from W.

 

[Cagey]

Right. All poly at Warmoth. Finish doesn't matter on electrics. Actually, finish type doesn't matter on acoustics, so long as it's thin enough to not affect the vibration of the wood. Poly wears much better, is impervious to more liquids and solvents, and is the same thickness.

 

[AutoBat]

Notable exception on necks: the satin finishes are nitro

 

[Strat Avenger]

As I stated before, I believe a hard, thick finish "may" reflect more high-end, however I also think the difference is so small that it probably doesn't matter when considering all aspects of what makes an electric guitar.

 

[sully]

I really like this place. As a beginner, it is pretty nice to be able to get lots of viewpoints. Not just about guitars in general, but specifically about warmoth. I will admit there are many differing opinions, which does make it remain confusing, but most comments are not "far out", so hopefully there exists some pearls to extract. At the least people like myself can be aware of the many differing facets and not proceed blindly.

So thanks.

 

[Nightclub Dwight]

I think the Warmoth tone-o-meter does a pretty good job of classifying woods so we can have a general idea of what a certain wood may sound like.  I have to think that Warmoth chooses to speak in general terms about this subject since tone is really a subjective thing, and each piece of wood will have different characteristics.  If Warmoth went too far out on a limb stating what tone one can expect from a given choice of wood, it could result in bad feelings and warranty claims from people who feel their particular instrument doesn't deliver the sound they feel they were guaranteed if the choices were described in a more concrete way.

 

[sully]

I think the Warmoth tone-o-meter does a pretty good job of classifying woods...

That is how I thought about it at first. Threads like this don't really irritate me, just the opposite actually. Understanding that a "tone" is actually quite subject to individual interpretation is something I had to learn. Getting some clarity though on whether one can assume most pieces of a given wood will be "more or less" in the same tone class is a little complicated. As this thread goes on though (and others like it, here and elsewhere), personally I begin to think that those with greater experience see things a bit differently.

Being able to pinpoint minute differences seems to be what many here speak of. I simply can't do that, yet anyway. So for people like myself the equation is much simpler, like wood X is not too bright typically, while wood Y is usually very bright.

Sound like an accurate assessment?

 

[Steve_Karl]

The reason body wood matters to me is that I play my electrics unplugged a lot of the time.

 

[Torment Leaves Scars]

I think the woods matter more with an acoustic than an electric, but that being said, I have many guitars of many shapes and woods and they all feel different, balance differently, have different widths/lengths, and sound differently.  None of them have the same pickups or anything, so this is expected. 

Some people will say that woods matter a whole lot more, but with electrics, I think you're picking up the sounds of the pickups more than the sounds of the wood.  But there's a "double edge" to that, because depending on woods, I'd believe if some resonate differently while unplugged, they're also going to resonate while plugged in. 

I've debated this with myself for years and each time I come to the same conclusion..."Get what sounds good to my ear."

 

[jackthehack]

I would note:

Jeff Beck never sounds much different from playing tunes on Blow by Blow on an mahogany LP or a swamp ash Strat live.

Jimmy Page never sounded much different playing tunes on a Telecaster on the first album or an LP live.

I could cite a dozen more examples, but if you're capable of getting the point you already have...

 

[stringtheorymusic]

If you can't hear the difference between a Les Paul and a Stratocaster you should stop playing! Just cuz you can't make a distinction doesn't mean its not there... you just cant hear it YET.

 

[Dan025]

If you can't hear the difference between a Les Paul and a Stratocaster you should stop playing! Just cuz you can't make a distinction doesn't mean its not there... you just cant hear it YET.

that's not what jack is saying at all.

he's saying the masters (and some armatures too) can get the sound they are looking for no matter what they play. you can always tweak the eq and adjust your playing a bit.

 

[Torment Leaves Scars]

If you can't hear the difference between a Les Paul and a Stratocaster you should stop playing! Just cuz you can't make a distinction doesn't mean its not there... you just cant hear it YET.

that's not what jack is saying at all.

he's saying the masters (and some armatures too) can get the sound they are looking for no matter what they play. you can always tweak the eq and adjust your playing a bit.

Gonna disagree with that statement.  There's no way on this green Earth a player will ever get a Gibson LP to sound like a Tele or a Strat, and vice versa.  Sure, you can certainly get a sound you like, but there are reasons these artists are very particular about what they're using.  It's not only about who's willing to hand them the best endorsement deal.

 

[Super Turbo Deluxe Custom]

He's saying it's the player and not the gear and the image they project vs. the gear they play. Page's early Zep stuff was Vox and Tele, not what most would think to use to make something dark and heavy sounding, and certainly not was most think of or use when attempting to get those sounds.

 

[Torment Leaves Scars]

He's saying it's the player and not the gear and the image they project vs. the gear they play. Page's early Zep stuff was Vox and Tele, not what most would think to use to make something dark and heavy sounding, and certainly not was most think of or use when attempting to get those sounds.

The infamous solo from Stairway To Heaven...all Tele.  :icon_thumright: