I have a Pau Ferro board on a birdseye maple neck. I usually build my own necks, so I'm kind of anal about it. The one Pau Ferro board I have produces what some might say a scooped tone. (big on bottom; fewer mids; big on top) I realize a lot of people don't think fingerboards contribute that much to the tone. I disagree there. Then again...trying to get people to even come to a consensus on what is "low," "mid," "high" isn't even easy! I tend to swap a neck from body to body until I find a combination that sounds copacetic to me. (neck/body complimenting each other) but even that is truly difficult to translate to words sometimes. I will say that I have 6 or 7 necks all from one original birdseye board (it was about 10 ft long and 8/4) back in the 90's when I first got it. The reason I'm being so wordy here is to restate what has been said many times -there are many factors determining the tone of any neck. Heck, I don't even agree with most folks' generalization about maple boards. I get the "bright" part that everybody observes, but I also think they are less complex sounding. In my estimation...maple boards have a stronger emphasis on the fundamental...and less on the overtones. In this one case though, the Pau Ferro (Morado) is a bit like an exaggerated rosewood in the sense that it is well-defined; has a lot of thump in the low-end; and has noticeable high-end overtones.
