That cab looks like it could kool-aid man through a wall, all by itself

i use two different speakers via a 2x12 cab, to achieve "MY" tone. i cant get the tone otherwise. that being said, they are the same ohm, so it works out for me.

What have I learned from this? 1. There's just something magical about the whole SVT rig. 2. The Dubster or the Big One blows all of these away 3. Alex ain't a great bass player 4. You can't disagree with him, he'll go in the huff or have a massive rant. I go way back with Barefaced before the hate starts, at this point I've bought 9 cabs direct from BF and more cabs than I can remember 2nd hand. At this point in time I am gigging a Dubster & a Big One, both of which have 15 inch speakers, you know, the ones that Alex says don't have a 'sound'. This is where our worlds collide; 15's in my 45 years experience of gigging do have a sound. Why did he ever use 15's if they don't work for bass? Having said the above, the 15 inch BF cabs are INSANE. I gigged my Dubster last night to a 2000 seater and I didn't need P.A.

The Dubster blows all of these out of the water

You’ve made a lot of big claims in the comments which a lot of seemingly knowledgeable people have been disagreeing with. I’m very interested in the results, but moreso the methodology, of your testing. When can we expect these follow up videos?

Question: If the resonant frequencies of "electric" instruments make such a difference, then why don't manufacturers make body sensors for the acoustic properties instead of using cruddy piezo sensors in the bridge? I have a hard time believing that this hasn't been researched before... Is there something wrong with the idea of a body sensor on a solid body electric?

Yesss. Nice. Thanks for doing these. It took me a bit, but I now really appreciate the style of these videos. It's like being in the shop with someone else testing cabs, not an overproduced marketing video. I must say, I REALLY like the Three10. That would work really good for me as a damn fine rock tone. And now I'm torn, because my initial plan was to get one of your 12s for the accuracy and then play around with modelers and maybe cab sims if i need more "color". What am I gonna do now 🥲

That is some very serious Hogwarts tech there. Now, when asked why my BF cabs sound so 'magical', I will skip the technicals and go straight to: ITS THE GLUE!!!

For me, it matters but not for the sound. I'm more worried about the integrity, also I don't like heavy woods.

There’s no such thing as “tone wood”. It’s just wood!

Big Neo advocate here. I love my Mojotone British Neo; definitely a speaker I'd like to hear you demo

I'm suprised as to how much better the 10" sounds compared to the 12"

As someone else already have stated below, buying 2 strats of the same batch, colors, and setups, one got that mojo, and the other was dead as a doornail. The process, methods of getting it all together and the actual build, is way more important than any kind of wood. See the Taylor thing (and that was even on an acoustic). On solid body electrics. Period. I can attest to the strat thing. Back in the 80s one of my friends and I bought - independently of each other - brand new stock Squier strats. Years later we'd found out that our similar strats had serial number right after each other. Can't remember if mine had the "lower" serial number or not. But anyway, stock, from the shelves setup, NO mods at all, not the slightest. His had mojo, and was the better "player", but mine was dead as a doornail too. We used the same kind of strings 010-046 and yada yada. Later on I tried to mod it to the moon and back, changing out pickups, refret with thicker frets, and all that, refine the setups, but it just sounded different, not necessarily better. Here's the crux: Tonewood on solid body electrics? Which is your benchmark? Your yardstick to be measured and compared to relatively? It can't be any acoustic can it? The little (subtle) difference there is will not be better, it will just be different. People often mixes those two ones up, all of the time. Different is not the same as better. Better is not the same as different. There are several renowned luthiers both on bass and guitars, who still swears by tonewood properties on solid body instruments, bass luthier Sadowsky and a couple more. So while we are relying a bit too much on the guild, the cognoscenti of the world, the physical laws still applies. The ipse dixit runs galore in tonewood debate. Yes, now you have to google those ones up, people. Both the words cognoscenti and ipse dixit. Just because someone says it, it's true.

Aaaahhhhh - that's why they cost a lot 😊

evm other category

Love to see you entertaining both sides of the argument. For a while I was in the "tonewood doesn't matter" camp, but for some time I've been not as sure... yeah, the pickups only interact with the strings, but the strings interact with the neck and body. Not convinced that it's just lost energy. The string resonance seems to be inevitably influenced by the materials they're resonating with. Will be following this series closely, thanks for offering another perspective on this deceptively simple topic!

All 335s have a plywood top and back, and Holdsworth got a wonderful tone out of a graphite Steinberger

I'm not convinced at all. What the pickups are transmitting are the strings which perturbating their magnetic field. Even if we got the proof that tonewood influences the tone, it might be so light it wouldn't be hearable. And in a mix we don't even need to talk about it

Next the Paul Reed guy will be trying to tell the world that he's releasing some new Horse-Feather effect pedal and it's vastly better because instead of it being in a metal casing he's going to avail it in some wooden case of his vivid wild imagining that makes it better because of the 'tonewood' it'll be mounted in.....hilarious stuff methinks!

The joke started and was missed at the inception of referring to a piece of timber in the first place as 'tonewood'...end of report! ..on an electric instrument it's not worth the chase quite frankly, it's more about the shape used and chambering if any incorporated in the build or non chambering etc, how the strings resonate depends on what's causing them to resonate and yes from that perspective it gets multi faceted ....strings used, gauge etc, pickups, nut, saddle/s, bridge type and materials used for such, electronics used in the instrument, tone and volume pots etc, capacitor type etc, cable attached, length etc, amp used, speaker/s in cab etc....fun stuff!

The way the strings are attached (bridge & nut) on an electric guitar is important for resonant tone, as is the body and the neck. Wood species ( Alder, ash, basswood, mahogany, poplar,etc) have unique tone qualities (I totally agree with the Warmoth 'tone wood' info on thier website). The Ring Orientation of the body wood is very important to how it resonates (for a 2 piece center seam body you want the 'open book' V pattern as opposed to the 'closed book' A pattern). If its a 1 piece or 3 piece the same thing applies for the piece that encompasses where the bridge is ( you want the ring pattern going OUT towards the outside of the tree going towards the face of the guitar, the ring pattern as it heads toward the center of the tree should be going towards the back of the guitar). The way the bridge is mounted whether it is a 6 screw, 2 post, tunomatic, etc, these mounts are connected to the body wood, the strings vibration is affected by the woods resonance. Also, the woods density is important. As an ex. A heavier alder plank will yield a tighter sound than a light plank. Medium weight is best ( around 4 to 4 1/2 lbs for a alder strat body for ex.). Too light and distorted tone gets mushy and undetailed, too heavy and you get a thinner, hard sound.......the middle is the best. A Good (resonant) electric guitar will sound good with any pickup, while NOTHING can save a bad piece of wood.

“If it sounds good unplugged it will sound good plugged in, and it if it doesn’t sound good plugged in then it just needs new pickups” does this guy seriously not realize he just defeated his own argument lol. I agree that neck wood matters in the stability of the guitar and in avoiding things like fret sprout. But to say it affects the sound has been disproven multiple times

All I hear is the tone of your voice....wake me up when you have some actual GUITAR TONE examples.

there's a lot of people who can't afford really good equipment. and just like with anything.. when people cant afford things, they bad mouth them or try to undercut what they're capable of. guitars, tone woods, amps.. they all change the sound.. just not on a recording. because its going to be mixed. now for the rest of us, who dont listen to ourselves play off recordings.. and we're sitting in front of our amps.. this all matters. people listen to these guitar salesman on youtube.. who say tone wood doeesnt matter.. guitars dont matter... and meanwhile they're selling harley benton. so yeah.. they want you to buy cheap guitars. so what are they gonna tell you? they're gonna tell you tonewood doesnt matter.. because the guitars they're trying to sell, are all made out of trash wood. amp modelers are fantastic as well.. just not for live use. but you'll find videos comparing amp modelers vs tube amps... thats fine.. but its not even an argument, that a tube amp fills the room 100,000,000x better than a modeler with a cab. john browne from monuments.. switched from a modeler to using a soldano for live performances. i dont know why people dont specify their arguments. 'tone wood doesnt matter.... in a mix" no shit. it matters for us 99% of guitar players, who jam out in our rooms and arent running through a mixing board. and another thing, sometimes people have bad hearing. hearing is a very important aspect of being a musician, and if you havent honed your hearing.. I'm sure a lot of things sound the 'same' to you.. that dont sound the same to people who understand how to listen, at a high level. hearing each detail of a note. a lot of people dont hear that. they go 'what?' and i go yeah.. you dont hear that? so dont think everyone is the same, that because you hear something one way.. that others arent hearing something else.

but everybody say setup matters the most ^^ and the difference is so tiny that you can correct this with an EQ ;p

Great video. The thing that people miss is that strings dont vibrate in a vacuum. It's not like you just strike them and the pickups pickup only what resulted from your pick attack. The strings "talk" to everything. The wood, the bridge, the fret material, neck, screws, guitar design. Everything. If you loosen a screw on your guitar it can and will kill your sustain plugged in. Hollowbodied guitars have an impact on the tone that is going into the pickup. A string vibrating reacts to everything which means that everything matters. Then you have a group of people who go even further and say pickups don't matter. The less said about that take the better as it literally contradicts hundreds of years of well established electromagnetic science. The one thing I might disagree with is that if your guitar doesn't resonate out of the gate it will never sound good. I think you underestimate what can be done with pickups, tone pots and more drastic measures like hollowing out parts of the body or filling it with foam. Although you also mentioned that so I'm not sure what your actual position on that is. What's funny is when you start looking at composite guitars. Aristides guitars are taking off right now. I personally don't think they sound good. They all have this "twang" that's almost impossible to get rid of. Doesn't matter what pickups, bridge, scale length etc. It's always there in every video I've seen and when I've played them. I'm not sure if it's the material or the construction of the guitar, but I can't unhear it, or pretend its not there. I don't think it's because it's "not wood" but because it's easier to find a good piece of wood then it is to engineer it from the ground up

Consider your xylophone / woodblock example... Why do we have different sized blocks of wood for each note, and different sized tone bars ?.. Because in a solid body of material the resonant frequency is based on the length of the material... A guitar produces tones from 80Hz to 1Khz, and it's all one single static 'solid body'. Like the wood blocks, it's only resonant at a single frequency and its harmonics. Your theory there would expect an outcome of different notes having wildly different volumes as they resonate, or cancel out, and yet this doesn't happen.... This should give you some idea that your concept here is flawed.

There is so much wrong, technically wrong, with what you're saying I barely know where to start. But your description of 'sound' going into the pickups and moving through wood and metal etc. is just fractally wrong. Pickups respond to perturbations in the magnetic field that surrounds and penetrates that coils, this is the strings vibrating in the field causing this. The pickups don't care about whether the acoustic sound of the instrument is nice, the pickups don't amplify or process that, they pick-up the changes in magnetic field caused by the strings moving back and forth in that field. The reason why a bunch of the same model of guitar can sound different is due to the wide tolerances of potentiometer, capacitor, pickup inductance etc. changing the frequency response, you aren't hearing the wood. I could watch no ore of this, it's just nonsense.

Everyone needs to watch Jim Lill.

Jim Lill. Everyone go and watch Jim Lill.

BS! Maybe on acoustic instruments but electric, BS!!

You do realise that electric guitars communicate through magnetic fields, right? So the shape, size, material or even the very existence of a guitar's body DOES NOT MATTER, whatsoever, even and especially if a marketing person convinced you that it does. This has been proven here on KZbin more than once and if you've a functioning pair of ears (granted, most "guitarists" don't seem to have those) you can very easily run some tests at home and hear for yourself. It has also been proven on the market, a carbon fiber Steinberger will sound just as crappy as your starter Squier in the hands of a beginner, and it'll sound just as nice as your custom shop plank in the hands of a professional, or indeed it'll sound just as good as a Parker Fly, another composite guitar. Pickups, pots and scale-length are the only variables in electric guitar building that actually effect its tone, everything else exists purely inside your head. As for tuning stability, ANY guitar with a headstock is a liability since that is an outdated and inherently flawed design. Again, a carbon fiber Steinberger will stay in tune for a solid decade, or longer, as long as the operator isn't some ham-fisted ape, yet even a classically trained musician will put a guitar with a headstock out of tune simply by looking at it, regardless of the quality of wood. So no tonewoods, it's simply not a thing in electric guitar construction.

No evidence provided. This is click bait.

The electrons don’t care about your tonewood.

I've played the cheapest peace of S!#%& and the most expensive garbage... The biggest thing for me in both feel and sound is NEW strings... End. Of. f!#%/ing. Story.

all air and no spectral analysis.

I'm an engineer with a thesis in waves propagations in solids. I am a very amateur guitarist, but I do build my own guitars. I was under the impression your video would be a click bait and you would explain why it doesn't matter on electric guitar. I'm a bit disappointed, it sounds to me like you are using concepts you don't understand and dropping some words you've heard about spectral analysis:( One if my friend built a paper guitar "Jazzcaster", you can find it online, and no one could distinguish it from wood, he had to prove to people hearing it, it really was paper. Let's cut the BS out of tonewood :)

From what I’ve read, the word “Tonholz”/“Tonewood” originally just indicated the wood chosen from the stacks of wood for finer furniture, and it would be chosen firstly based on perceived higher rigidity and structural integrity, which would coincidentally also mean that it would contain no knotholes, etc. and less moisture or resine, and those last two qualities you would find out by knocking on the wood. All of the magical blabla came later, and even more of it came with the rise of the brilliant but self-taught guitar innovators

Nope. I have a Telecaster made from basswood and a tele made from mahogany and when they're both strummed acoustically....guess what? They sound the same. Both ring out and create a vibrating resonance in the body for 10 seconds....just picked up my Gibson SG tribute made from walnut...did the same thing....rings out with the vibrations in the body completely dissipating after 10 seconds....hmmm? Well I guess this whole tone wood theory is bullshit. Now hush your gums and get back to making your overpriced cabs for doctors and dentists.

The first installment was just great, and now it went all down the cristals and fairy hole.

Guitars all sound marginally different. I've got a 90's prs that doesn't sound quite as good as my balsawood chibson. " tonewood" is nonsense. A guitar is a system. It involves multiple pieces that can be harmonious together or not. The 'quality' of each piece is arbitrary. Those old danelectro mdf guitars sound great.

Nonsense

You make speakers for high end guitarists (and very good the one that I tried was...). Your logical position is to say that the speakers are where it is at. I agree with you that the experience of playing a properly resonant guitar is far more rewarding than playing a dead plank. Jim Lill's replication of the sound of a generic guitar is irrelevant to this issue, as is any after the fact re-amping...

Curious how come the steel James Trussart strats and Fender cardboard strats all sound like strats if the material is that important to the sound?

When I bought my first guitar (1993), Ibanez RG560, I bought is solely on the way it sounded unplugged. It sounded great and played great and the both together were enought to push me to buy it. It is till my number one guitar to use now 31 years later

Finally a "tonewood is a lie" video I agree with.