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Post by Deleted on Aug 15, 2018 8:27:29 GMT
Ok, so this is all a bit theoretical, but.....for you guys with multiple guitars, or for you luthiers out there, which back/ sides tonewood would you pair with Adirondack to produce the strongest bass response? Let’s assume the guitar is an OM, with 650mm scale length.
Some of the Woods I have experience with are Bubinga (my favourite) Indian Rosewood, mahogany and cocobolo.
I have to say, the bass reposnse on the adi/ cocobolo 12 fret I’m borrowing is immense.
Lets keep it realistic and say that, for economy sake, Brazilian rosewood and Madagascan rosewood are out of the question.
Aim is to to create a Celtic sounding instrument, with lots of overtones, Bell like chime, balanced response.
Robbie
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Post by oustudent on Aug 15, 2018 9:00:03 GMT
Personally, I think the tone is more to do with the build and the builder.
For example, I think Stefan Sobell could probably make a decent sounding guitar out or pallet wood.
Mahogany is definitely out of the equation and there are bad and good IRW guitars.
I like the look of cocobolo but I don't recall ever playing one.
Are you thinking of a Brook? I would let Simon decide for you.
J
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davewhite
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Post by davewhite on Aug 15, 2018 9:22:27 GMT
Mahogany is definitely out of the equation Why
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colins
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Post by colins on Aug 15, 2018 9:39:36 GMT
I think both Dave and I, and any decent builder could make a bassy guitar, or a treble biased guitar out of any tonewood including mahogany (my favourite!). It's much more about the overall design of the guitar, how thin is the top, what is the bracing positioning and shape, body depth, how stiff is the neck etc. A 12 fret guitar will generally move the bridge lower down the body. It's not just a simple question of which back and sides you use. The problem with trying to go too bassy is that the instrument can end up just sounding muddy and lacking in separation. As in all things in life it's about balance and compromise.
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ocarolan
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Post by ocarolan on Aug 15, 2018 9:48:54 GMT
..... which back/ sides tonewood would you pair with Adirondack to produce the strongest bass response? ................... Aim is to to create a ................. balanced response. Robbie Some conflicting requirements there I think, Robbie. Keith
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Post by andyhowell on Aug 15, 2018 9:55:11 GMT
This is where I would leave it to the luthier. They usually know more than me about this. Mine ended up being wenge which works well enough for me, not as bright as some rosewood types.
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Post by jackorion on Aug 15, 2018 10:00:42 GMT
Celtic sound with loads of bass?
This guitar had bass in spades, but was still clear across the whole range!
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Post by Deleted on Aug 15, 2018 10:30:21 GMT
..... which back/ sides tonewood would you pair with Adirondack to produce the strongest bass response? ................... Aim is to to create a ................. balanced response. Robbie Some conflicting requirements there I think, Robbie. Keith I wondered who would pick me up on that- you see, I am of the opinion that it is easier to hold back on your bass notes, than trying to dig in with your thumb to create Bass that isn’t there. Does that make sense? Obviously a controversial question- I know that a good luthier will create a good sound regardless (though I question whether a pallet would work!!) But, I think what I was asking was, all things being equal, and knowing my music and the tunings I play in, what should I be looking at? You see, the guy whose 12 fretter (adi and cocobolo) I am borrowing seems adamant about going for something in the rosewood family for its bass response. It’s interesting, because Stuart Ryan released a video of that lovely Lowden F (adi and Cuban mahogany) recently where the bass response just wasn’t there. Although it was very Celtic sounding, as a Lowden should be, to my ears (and to the ears of my mate Dave who has leant me the 12 fretter, and who coincidently used to own that Lowden) there was always something lacking in the bass. Anyway, thanks for the replies so for. Jack, I am certainly considering seriously whether redwood might be an option for the top. Robbie
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Riverman
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Post by Riverman on Aug 15, 2018 10:38:30 GMT
I know that a good luthier will create a good sound regardless (though I question whether a pallet would work!!) Taylor made a guitar out of a pallet a few years ago. If you hang on, they’ll probably produce a V braced version soon...
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davewhite
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Post by davewhite on Aug 15, 2018 11:31:26 GMT
Basswood obviously
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Post by oustudent on Aug 15, 2018 11:36:56 GMT
Mahogany is definitely out of the equation Why You can get a very good Mahogany guitar and I own three which are all good. However, if I was ordering from scratch and I was after a particular sound I would not take the risk on Mahogany and choose something that was had a better chance of achieving the sound I was looking for.
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colins
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Post by colins on Aug 15, 2018 11:45:22 GMT
The Taylor Pallet guitar was made from an oak pallet, so the B&S and neck were oak. The top came from some 4x2s but you can bet they were carefully selected for grain.
Oh and you can get any sound you want from a mahogany guitar! It's all down to the builder.
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davewhite
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Post by davewhite on Aug 15, 2018 12:04:24 GMT
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Post by dobro on Aug 15, 2018 12:14:36 GMT
The deepest bass on any of my guitars is a mahogany/sitka. So hog is in the equation.
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Post by oustudent on Aug 15, 2018 19:33:27 GMT
On reflection, I was probably being a bit harsh on Mahog as a tonewood, as mentioned I have three which includes a Martin 000-18 with Cedar Top that Phil has a liking for. My comment was in the context of the inquiry, Robbie has a desire for BRW or Madagascan but ruled out due to costs. The cost difference between Mahog and IRW is negligible and would not make much difference to the end cost. If I ordered a Mahog I would always be thinking I wonder what the IRW would have sounded like. www.madinter.com/wood/backs-and-sides.html Personally, if I was going bespoke again I would be looking for something a bit unusual and take a chance on the sound. You are then truly buying a bespoke instrument. The ebony looks really nice. J
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