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One day there will be indisputable proof for or against tone wood. Whichever way it turns out, these proclamations will still be arrogant assertions.
Been uploading old tracks I recorded ages ago and hopefully some new noodles here.
One of them is alder. The other is a Mexican Classic Series 50s. Not sure what wood they use on that.
And why are Les Pauls mentioned in these ‘tone wood’ threads more than any other model? Always seems to be some form of attrition or justification for liking/buying an LP to me. If you want one and you can afford it - great. Buy one.
name on headstock
who plays it
shape of headstock
colour
type of finish
neck profile
neck finish
name on amp/pedal and how re-assumingly expensive they are
Which end of their cable they should plug into the amp so that all the tone atoms flow correctly
A recent comment I saw was about a Fret King guitar and they said that they could never buy a guitar built by a guy named Trevor. Says it all really.
There was a thread on here a couple of years ago where someone was talking about the wood they had for a body (something rare, unheard off and exotic looking ( I seem to remember zebra like stripes). It also had a fancy neck and they raised the 'tone' question. Someone else pointed out they seemed to have spec'ed it completely on how it looked so why now wonder about what it sounded like.
While it is difficult to imagine Leo Fender troubling himself with the finer points of lutherie, Gibson probably did care about the timber they were sawing. An article I found in a 1958 issue of The Wood-Worker begins:
I have seen this on the really cheap ebay guitars etc pretty often where you just can't get them good for people, even with workshop time.
But even a good squier strat can be made to sound and play pretty much as indistinguishable from the usa variants or boutique strat copy manufacturers.
Fender and Gibson weren't thinking tonewood in the marketing sense 60 years ago. They were considering the right woods, climate and construction techniques along with the somewhat 'indirect incidental' but actually considerable direct impact (variances, accuracies and even errors) of their hand wound pickup manufacture.
'tonewood' or certainly the correct choice wood has a significant observable impact on acoustic orchestral string instruments (violin, cello etc) but as does the construction technique. Thus it does on acoustic / classical guitars.
Wood and construction technique are not mutually exclusive though.
I thought it was their ancient stockpile for acoustics, mandos and the like. And so when it ran out there was no tones left for the rest of us.
Been uploading old tracks I recorded ages ago and hopefully some new noodles here.
If you think wood selection matters, you're in luck because there's endless choice of tonewoods these days.
If you don't, you're in luck because you can pick the prettiest and lightest woods safe in the knowledge your sound will be unaffected.
There is as far as I know nothing to prevent either camp from enjoying their respective positions. It's such a non-issue I can't believe anyone bothers to defend either opinion other than academically.
because air density is a function of air pressure, air moisture and temperature, so you hear a different sound depending on what medium those sound waves are travelling though.
(only semi in jest, there is clearly some science in there)
http://https//www.youtube.com/watch?v=nlv5bylQDsE&list=PL218936E2C405D3D2&index=2
https://www.youtube.com/watch?v=sCi-3lEefCs&list=PL218936E2C405D3D2&index=3