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Fretboard vs body

Marco78

Junior Member
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I have read here and on other web pages that the neck is major contributes (of all the wood) to the tone on electric guitar. But do you think that body is more important in comparison to fretboard due to big weight?

So: neck wood --> body wood --> fretboard --> laminated top
 
Well at one time I was not sold
now I think both are important, but matched.
you want deep. Go for both neck and body that way
you want bright. Both neck and body
Mixing them can get strange results
then as always, electronics matter a lot too.
 
The body will affect the unplugged tone of the instrument to a perceptible degree; however, once you take the output from a pickup, that difference all but vanishes:

http://www.stormriders.com/guitar/telecaster/guitar_wood.pdf
 
Jumble Jumble said:
The body will affect the unplugged tone of the instrument to a perceptible degree; however, once you take the output from a pickup, that difference all but vanishes:

http://www.stormriders.com/guitar/telecaster/guitar_wood.pdf

Ok, I know that... my answer is if the fretboard affect the tone more than body.
 
I have decided that from now on, I will no longer participate on our monthly "does wood matter" topics!  :tard:
 
Marko said:
I have decided that from now on, I will no longer participate on our monthly "does wood matter" topics!  :tard:
But it's a tradition! Just like my family has our yearly argument about politics every Christmas.
 
Marko said:
I have decided that from now on, I will no longer participate on our monthly "does wood matter" topics!  :tard:

I have read a lot of this 3d in this forum and I have understand that the neck have the major impact on tone, while the body impact is minimal or absent. But I don't have understand if the fretboard have some influence.

However I have calculated that the neck in general is composed (in volume) about of 3/4 of neck wood and 1/4 of fretboard wood.
 
Generally speaking, any time you laminate material you strengthen and stiffen the end result. This is usually a Good Thing both mechanically and economically, but you'll get mixed reviews when it comes to instruments made of wood.

In stringed instruments, the effects of various wood species, densities, grain orientations, construction, etc. are all variously subtractive. That is, a softer or more porous wood will absorb more high frequencies than a harder or denser one, regardless of how you get there. No wood (or other material) adds any frequencies, so the idea that some woods sound brighter or darker is false: they don't have a sound. They're parasitic. The frequencies are generated by the strings where the energy is put in, and entropy drives it all downhill from there. Traditional magnetic pickups only pay attention to the strings; they can't hear or sense what the wood is doing. This is why the same guitar will sound dramatically different acoustically vs. electrically. But, since the wood is absorbing energy from the strings, it affects how long and true they vibrate, so the pickup sees an effect after all.

Knowing all that, what can we say about fretboard wood? We know laminating woods make them stiffer, so it follows that laminating them with stiffer woods will make them even stiffer. So, the end result is the neck doesn't absorb as much vibration, which in the guitar world means "brighter". That is, fewer frequencies have been absorbed.

This is not a Bad Thing. You can filter out frequencies you aren't interested in electronically. But, outside of synthesizers, you can't create them if they don't exist in the first place. So, in my opinion, it's better to have a neck that doesn't absorb frequencies so you can throw them out as circumstances demand rather than have one that doesn't create them at all. You never know when you might want to sound accurate or articulate.

This has an advantageous side effect: very dense hardwoods wear better and have better playability. So, Ebony, Ziricote, Bloodwood, Pau Ferro... have a blast!
 
The situations that convinced me that fretboard wood makes a difference was when I owned 2 nearly identical G&L F-100 MKII
guitars, and had a spare neck for my '76 music man stingray bass.

G&L story:
Both had maple shafts for the neck. Exact same size of the shaft.
One had an ebony fretboard and one had a maple fretboard so I guess it was a 1 piece maple neck. ( skunk stripes )

A few times I swapped the necks because each guitar had an obviously different 'character'.
The maple/maple had more snap and more mids ... more growl.
The maple/ebony was wider and more open sounding, more full range sounding.

After swapping a few times it became obvious the 'character' was in the necks.
---------
Same deal with the Music Man Bass.
The original neck is a maple/maple. The replacement neck was a maple/ebony.
More snap, more focused mids and growl with the maple/maple.
Wider and more open with the maple/ebony. At that point it was a "kick me for not getting it" moment,
and I suffered with the loss of the maple/maple. I should have bought a maple/maple replacement.

The reason I had to get a replacement neck for the MM Bass was the skunk stripe on the maple/maple
began popping out and it took me years to find someone willing to replace it for a reasonable price.
Everyone I asked said "just get a new neck." So I bought one from Ernie Ball. I couldn't find a "real" MM neck
since they'd been sold to EB.

Eventually I found a mandolin maker here in Pgh. that did the whole job for me for $25.00,
most of it while I watched and talked with him. It was a great experience and was over 12 yrs. ago
and that old repaired neck is still great. I sold the replacement neck on eBay and pretty much broke even.

Body wood is noticeable when playing unplugged and I do that a lot so I like mahogany.
 
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