jackthehack
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You think a dual graphite truss rod system can straighten the petrified mammoth penis enough to use it as a neck?
Professional Musicians and Exotic woods...
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N
neilium
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NonsenseTele said:
True, look at Robert Fripp: his backline is as modern as can be, yet he goes to great lengths to look like he's still playing the same black LP custom he was playing in 1970. (Mind you it's now a custom-made Tokai with Roland GK pickup and kahler tremolo.)
TonyFlyingSquirrel
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jackthehack said:Y'all asked for it... Nice graining, and it should make for great sustain, but getting the "bow" out of it might be an issue
Only thing is, you can't play fast on it, only very slow, otherwise it's a mess.
NonsenseTele
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Is this a trully mammoth's penis? :icon_scratch:
NonsenseTele
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Phrygian said:If so, I'd say it's proof of why they're extinct.
:icon_biggrin:
aaaaahhh there are more penises in this thread than I wanted to see today.
back on subject.. kind of..
I always wondered if Trevor Rabin has a solid rosewood neck on this strat in this clip... does anybody know?
It sounds great either way! (if you can see through the 80s cheesyness)
[youtube=425,350]http://www.youtube.com/watch?v=YoHbJCDlIVU[/youtube]
there are more penises in this thread than I wanted to see today. back on subject.. kind of..
I always wondered if Trevor Rabin has a solid rosewood neck on this strat in this clip... does anybody know?
It sounds great either way! (if you can see through the 80s cheesyness
)[youtube=425,350]http://www.youtube.com/watch?v=YoHbJCDlIVU[/youtube]
jackthehack
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Sure looks like all rosewood to me, could be pau ferro, bit hard to tell from the lighting
Yesterday I was watching parts of the strat pack concert from a couple of years ago, which reminded me of this topic:
is Joe Walsh playing a strat with a Wenge neck in this video??? it could be Rosewood too, but during one close up the grain looked a lot like Wenge.
If so, what would it be... Fender Custom Shop or Warmoth parts?
http://www.youtube.com/watch?v=dzxF-M2erx8
is Joe Walsh playing a strat with a Wenge neck in this video??? it could be Rosewood too, but during one close up the grain looked a lot like Wenge.
If so, what would it be... Fender Custom Shop or Warmoth parts?
http://www.youtube.com/watch?v=dzxF-M2erx8
O
OzziePete
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dbw said:
Aaah, but would the walrus bone have more density than the mammoth nut nut? Start up a whole new controversial subject for guitarists - what animal is more denser and toneful (similar to the debate we have here sometimes about tonewoods and mahogany vs. just about anything else!)
Back to the thread subject though.
I reckon there'd be two main schools of thought when an 'artist' lends his/her name to a signature instrument.
One would be along the lines of replicating the artists fav. guitar or bass, or the one the artist became famous with. Kinda like EC's Blackie, McCartney's Hofner, Susanna Hoff's Rickenbacker :laughing8:.
The other school of thought would be along the lines of what the artist themselves would like in a guitar or bass that they think cool, or to their tastes. That may involve things like gold plating, exotic woods, more up to date or intricate electronics etc. Then they showcase that instrument in a tour or two to prove it's theirs.
If you get an artist replicating their most favourite guitar, the principle used would be to get the model as close to the original with materials etc. vs. anticipated market and whether it's a limited edition or full on production run. And sometimes those famous guitars and basses would be pretty modest, and by no means exotic.
I love how this topic has gone out of hand
I think there is a feedback loop going on between the big guitar makers and guitarists. Lots of marketing money and effort is spent on giving all the various "traditional", "historical", etc guitar models as much exposure as possible and guitarists fall for it. At the same time, there are lots of people wanting to emulate or get the exact same sounds as their respective favourite guitarists (eg, all the Edge fans on youtube) and the guitar/effect/amp companies obviously respond to this. And thus, we get new reissued Strat models by the truckload every year. Too bad, if you ask me.
Oh, and just because I'm that kind of person: Fripp hasn't plated his black Tokai much since '93-'94, his guitars have mainly been custom built 48th Street and Fernandes guitars with hex pickups, sustainers and Kahlers. Well made obviously, but still the same old Les Paul formula when it comes to looks/woods.
I think there is a feedback loop going on between the big guitar makers and guitarists. Lots of marketing money and effort is spent on giving all the various "traditional", "historical", etc guitar models as much exposure as possible and guitarists fall for it. At the same time, there are lots of people wanting to emulate or get the exact same sounds as their respective favourite guitarists (eg, all the Edge fans on youtube) and the guitar/effect/amp companies obviously respond to this. And thus, we get new reissued Strat models by the truckload every year. Too bad, if you ask me.
Oh, and just because I'm that kind of person: Fripp hasn't plated his black Tokai much since '93-'94, his guitars have mainly been custom built 48th Street and Fernandes guitars with hex pickups, sustainers and Kahlers. Well made obviously, but still the same old Les Paul formula when it comes to looks/woods.
I think that the maple cap/set-neck/mahogany/24.75" scale formula worked out very well tonally, as did the bolt-on 25.5" maple neck/alder/swamp ash formula. The basswood and poplar bolt-neck guitars seem to work well too, though the Floyd Rose is a game-changer - I personally don't consider anyone using a Floyd to be on my own Tone God list, the whammying ones on my list all use traditional or two-point non-lockers. There is a question in my mind over why these two formulas sound "classic" - bolt-on long-scale maple necks, and set neck maple-capped mahogany guitars are what we grew up hearing, therefore they are what sound "right"? Or, those two formulas have a tendency to generate an especially musical proportion of midrange, treble and bass frequencies, which happen to overdrive certain sets of tubes "musically"?
Regardless, there is scant recorded evidence that a maple-capped Strat-type body with a bolt-on long-scale neck sounds good. Mark Knopfler has been using Suhrs on stage a long time, but he records with a variety of stuff, he played an old Les Paul on Sonny Landreth's new CD. Very recently Steve Morse & John Petrucci have been playing the quilted cap signature models live (sell some?) but all their recorded output to this date is with their poplar and basswood (respectively) old models. I do pay attention to what people are doing, without worship; but it's still a way to find out what works.... Here are my Tone Gods:
OLD GUYS
Carlos Santana - early - Les Paul; middle - Yamaha, L6S; late - 25" PRS, rosewood neck, maple-capped mahogany
Duane Allman - old Les Paul, SG for slide
Jimmy Page - early - Telecaster; later - Les Paul
Steve Morse - early - drastically rewired Telecaster; late - poplar Ernie Ball
Eric Johnson - old Strats
Jeff Beck - early - old Les Paul, Telecasters, Strats with six screws; late - two-point Strat
NEW GUYS
Andy Timmons - Ibanez made like a Strat w/six screw Gotoh bridge
John Petrucci - early - basswood Ibanez; late - basswood Ernie Ball, two-point whammy
Oz Noy - vintage-type Strats
Sonny Landreth - old Strats
Chris Poland - Yamaha in the Les Paul style - these are custom oddballs, I don't know the exact specs.
The point being that there are NO maple-capped, long-scale, bolt-on Strats or Superstrats in there... the metal guys like 'em, but with all that distortion it's somewhat irrelevant - to get a good metal tone you have to do lots of EQ'ing before and after the preamp, so what's the "guitar" tone? I can't tell. I love good country guitar playing, it's a really different tone but even the oddball guitars like Brent Mason's and Albert Lee's have plain wood. Obviously Eric Johnson, Page and others play a lot of guitars, but it's not what I consider their signature sounds - I hate Page's Danelectro tone & Johnson using a Gibson sounds ordinary. There are a lot of guitarists with great clone-tones like Warren Haynes & Derek Trucks, but they're following the other's scripts. There are people I left off my list - I have no reason to try to copy too many people, it's a dead end. Hendrix sounded great in his later studio recordings, SRV had a certain something, EVH sounded good early... still, no maple caps.
It's just hard to say whether the exotic guitars actually sound as good as the regular formulas, they've only been around a short while. Garcia could make his Wolf guitar sing, but that's a one-off in the Alembic vein - I sure didn't see all the 80's and 90's guitarists going to hippie sandwich guitars, and of course they do want to sound their best. Why wouldn't Johnson, Morse & Petrucci insist on wenge/pau ferro/cocobolo/padouk/korina etc., if it's an improvement for tone? :icon_scratch:
Regardless, there is scant recorded evidence that a maple-capped Strat-type body with a bolt-on long-scale neck sounds good. Mark Knopfler has been using Suhrs on stage a long time, but he records with a variety of stuff, he played an old Les Paul on Sonny Landreth's new CD. Very recently Steve Morse & John Petrucci have been playing the quilted cap signature models live (sell some?) but all their recorded output to this date is with their poplar and basswood (respectively) old models. I do pay attention to what people are doing, without worship; but it's still a way to find out what works.... Here are my Tone Gods:
OLD GUYS
Carlos Santana - early - Les Paul; middle - Yamaha, L6S; late - 25" PRS, rosewood neck, maple-capped mahogany
Duane Allman - old Les Paul, SG for slide
Jimmy Page - early - Telecaster; later - Les Paul
Steve Morse - early - drastically rewired Telecaster; late - poplar Ernie Ball
Eric Johnson - old Strats
Jeff Beck - early - old Les Paul, Telecasters, Strats with six screws; late - two-point Strat
NEW GUYS
Andy Timmons - Ibanez made like a Strat w/six screw Gotoh bridge
John Petrucci - early - basswood Ibanez; late - basswood Ernie Ball, two-point whammy
Oz Noy - vintage-type Strats
Sonny Landreth - old Strats
Chris Poland - Yamaha in the Les Paul style - these are custom oddballs, I don't know the exact specs.
The point being that there are NO maple-capped, long-scale, bolt-on Strats or Superstrats in there... the metal guys like 'em, but with all that distortion it's somewhat irrelevant - to get a good metal tone you have to do lots of EQ'ing before and after the preamp, so what's the "guitar" tone? I can't tell. I love good country guitar playing, it's a really different tone but even the oddball guitars like Brent Mason's and Albert Lee's have plain wood. Obviously Eric Johnson, Page and others play a lot of guitars, but it's not what I consider their signature sounds - I hate Page's Danelectro tone & Johnson using a Gibson sounds ordinary. There are a lot of guitarists with great clone-tones like Warren Haynes & Derek Trucks, but they're following the other's scripts. There are people I left off my list - I have no reason to try to copy too many people, it's a dead end. Hendrix sounded great in his later studio recordings, SRV had a certain something, EVH sounded good early... still, no maple caps.
It's just hard to say whether the exotic guitars actually sound as good as the regular formulas, they've only been around a short while. Garcia could make his Wolf guitar sing, but that's a one-off in the Alembic vein - I sure didn't see all the 80's and 90's guitarists going to hippie sandwich guitars, and of course they do want to sound their best. Why wouldn't Johnson, Morse & Petrucci insist on wenge/pau ferro/cocobolo/padouk/korina etc., if it's an improvement for tone? :icon_scratch:
jackthehack
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"Why wouldn't Johnson, Morse & Petrucci insist on wenge/pau ferro/cocobolo/padouk/korina etc., if it's an improvement for tone?"
1.) They get PAID MONEY and get free axes to hawk what they currently play, and you don't see what they play when recording. Ditto for some of the others on your list.
2.) Despite all the hundreds of pseudo-enlightened discussions on every possible perceived nuance of "tone woods" on this forum, the extent to which an 1/8" laminate top affects the tone of the guitar is exactly fudge all NIL.
I regularly laugh my ass off at any number of posts full of earnest worry about things being too "bright", "muddy", "dark", or "insert which ever silly adjective pops into your head at 3 a.m." Having owned/played pretty much the gamut of everything from vintage late 50s/early 60s axes to a wide array of Warmoth builds using most of the wood choices available, for solid bodied guitarsit all boils down to:
- You can make the body out of a chunk of anything, it's not going to make any appreciable difference in any way, with the exception of very light bodies of some woods being able to pick up additional resonance when playing at volume.
- Choice of neck wood(s) CAN make a difference to tonality, but the difference is in actuality very slight in almost all cases.
- 90% of tone/sound comes from your pickups/electronics selection and your fingers.
1.) They get PAID MONEY and get free axes to hawk what they currently play, and you don't see what they play when recording. Ditto for some of the others on your list.
2.) Despite all the hundreds of pseudo-enlightened discussions on every possible perceived nuance of "tone woods" on this forum, the extent to which an 1/8" laminate top affects the tone of the guitar is exactly fudge all NIL.
I regularly laugh my ass off at any number of posts full of earnest worry about things being too "bright", "muddy", "dark", or "insert which ever silly adjective pops into your head at 3 a.m." Having owned/played pretty much the gamut of everything from vintage late 50s/early 60s axes to a wide array of Warmoth builds using most of the wood choices available, for solid bodied guitarsit all boils down to:
- You can make the body out of a chunk of anything, it's not going to make any appreciable difference in any way, with the exception of very light bodies of some woods being able to pick up additional resonance when playing at volume.
- Choice of neck wood(s) CAN make a difference to tonality, but the difference is in actuality very slight in almost all cases.
- 90% of tone/sound comes from your pickups/electronics selection and your fingers.
My favorite guitar sounds come from players using basic basswood/alder axes with maple neck... I would use different woods maybe but just for the look. Exotic woods wont make you sounds more exotic :-\. Countless hours of woodshedding will :icon_thumright:. Guthrie govan main axe consist of a basswood body and a maple neck with rosewood fingerboard...No secret magic wood there.
The guy just kill everyone at guitar. Don't think I could notice if he used a guitar body made of ancient prehistoric wood. But im not against the idea of exotic wood. It is not that much pricey and its really cool that warmoth offer it! Can't wait to get my maple neck with kingwood fingerboard :icon_thumright:
The guy just kill everyone at guitar. Don't think I could notice if he used a guitar body made of ancient prehistoric wood. But im not against the idea of exotic wood. It is not that much pricey and its really cool that warmoth offer it! Can't wait to get my maple neck with kingwood fingerboard :icon_thumright:
jackthehack said:
*Begins slow clap* I think this whole "tone" crap is a LOT of hype and it's getting out of hand. There might be very slight nuances between certain things but, when people start getting all "Eric Johnson" thinking a certain brand of 9v battery changes your tone. C'mon now. Get real.
Wait til you start dealing with audiophiles... those guys spends more money on cables alone than what most of us would spend on a fancy Warmoth build! Do expensive cables make a difference in sound? I can't really tell... to me speakers influence sound far more than anything else will.
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