Rosewood, or Maple, or Ebony, oh my! - Guitar Builder's Basics - Episode 193

[@blackdogsheep5631]

I believe that guitars should earn their relic, not be born with it.

[@sinjon]

Black DogSheep because most guitars now have poly bodies that will never age like the older guitars, so buying one that’s relic’d speeds up the process

[@BAMozzy69]

@@sinjon Poly may not wear as fast, but it can still show signs of wear - like buckle rash, dents/chips etc. They can still get the scars of usage. Nitro guitars wear much faster and before too long, look like they belong in a museum or like they need to be retired before they fall to pieces. What you want is a guitar that will last, that will be up to the job for your entire career - not something that can let moisture in and ruin your instrument. I much prefer to see a few dings and dents to a guitar that is so worn that it now looks like rubbish, that it has been uncared for, used and abused as 'just a tool' rather than cared for as something more than just a guitar. Its the same as Ben looking after and maintaining the tools of his trade but still using them so they show signs of wear. Either way, I still agree with the OP that guitars, regardless of their finish, should earn their scars, not be born with them!! Every ding, chip, dent neck/body wear from playing etc should tell the story of its life not lie to me and 'pretend' its been played...

[@academiepiano-guitare]

I agree

[@luthiferbuilds]

Amen

[@TheLambLive]

Pau Ferro is the answer. However, you said tonewood, so it'll be whatever is the most flame retardant. Btw: Solo in G if you're playing along to the background noise.

[@DanPeacock]

Flame retardant. Well played, Dan.

[@TheScheckig]

I personally don't like intentionally reliced guitars, as a concept but, I'm perfectly happy to see people enjoy doing what they want to their own instruments. I just prefer the experience of a guitar aging with me over time. As I develop smile lines and crow's feet the guitar's lacquer checks, as if out of love and sympathy.

[@Diax1324]

I would absolutely love to have a relic if it were a replica of a real instrument, for the sake of avoiding either having to bother saving for a $20,000 guitar, or playing one live and putting it in danger.

[@nathanash101]

that TEXT at 3:18 though

[@CrimsonCustomGuitars]

Oops

[@Uncle_Buzz]

I think it was supposed to say "TONEWOOD > LOL"

[@hayvern]

One email hits on two of the topics of discussion that send guitar people into fits of rage. Tonewood and Relics.

[@daveburgess252]

I used walnut for my finger board on a Les Paul build I made. I mixed up some vinegar and steel wool and the tannins in the walnut turned it black after application. Not sure it sounds any different than any other fretboard wood, but looks great in my opinion.

[@djstringsmusic2994]

QUESTION/HELP please I've been building a parker fly in honor of parker closing its doors, with a few custom changes ( hannes bridge, ect..)Once finished I'll be building a second one. Truly my own. But I'd like to make this one without the carbon fiber reinforcement on the back. (I prefer wood and hand tools) Do you have any ideas on how I can keep the strength but show the beautiful wood. Would a neck through give me the strength on its own?I want to avoid a multi laminate neck, what wood would be strong enough to handle this job, including string tension on the open style headstock? (BONUS) How to go about routing a channel (for flush backplate) on such an irregular surface?PS I love your channel and I've been here for years and years. My first attempt at building/altering a guitar was around 10 y/o, playing seriously since 6 y/o and I could have never been able to handle a job such as a P fly, without your channel.

[@lifelogic3141]

That sounds like one hell of a time carving, what about using bens way of using an angle grinder?

[@lifelogic3141]

That sounds like one hell of a time carving, what about using ben's way of using an angle grinder?

[@djstringsmusic2994]

The thing I both love and hate most is the shear amount of carving. There are areas of the guitar that you are taking off an inch and a half of material. Though I much prefer hand tools I have tried ben's way of using an angle grinder and a sanding disk, but because of the complex shapes, I couldn't get very far before switching back to traditional tools. But I do love it, the feeling of just siting down an working away at this block of would for hours and hours. I is seriously a great escape from life.

[@lifelogic3141]

Unless this has changed in the past few years, their aren't any plans for a Parker Fly right? How did you figure out the measurements?

[@lifelogic3141]

Oh god I forgot about the pickups, how the hell did you do that?

[@Brandywine6969]

A question though. Do they make pressure pots large enough for guitar bodies and/or necks? I'm not talking about vacuum chambers, but pressure pots. I have seen people use resin with burls to make stuff using pressure pots to push the resin into all of the uneven areas to make the burl into a solid piece with resin making up the rest of the shape. Using resin in a pressure pot to get the resin into every part of the fretboard would make it very dense. I'm not sure what it would do about tone, though. I still say tone wood tone goes out the window when you plug an electric guitar in and start fidgeting with the amp settings.

[@balazsszomor5964]

I made a kind of soft relicing on my Strat copy. It took about 12 years. I'm quite satisfied with it, though I might be considering heavy relicing it if I get to live so long...

[@DependableRooferLLC]

Does a solid neck with the fret slots cut into the neck sound different than a neck that has a glued on fretboard?

[@bluwng]

Any experience with composites like Richlite or Blackwood Tek?

[@andrewridenour3062]

I would love to see a fretboard made out of resin, copper leaf, and rotten wood. It would look great on one of the copper rodded.

[@CrimsonCustomGuitars]

:o interesting...

[@rowlandstraylight]

I so want to do a neck and fretboard with a multi-colour stain now. Is there an adequate way to finish a fretboard other than spray-laquer? Will wipe-on poly or many coats of oil work or am I going to have to bite the bullet and spray?

[@hildolfrdraugadrottin7279]

I've always wondered how a hickory neck would be. It's a pretty tough wood and not very expensive. Osage orange might be pretty cool too but it is pretty heavy.

[@csu111]

You briefly mentioned there’s a difference in sustain between the three fretboard types, but didn’t elaborate. What is it?

[@sycog.8405]

Do u make any basses? I don't really notice a tone difference unless the body wood is significantly different. My favorite would be mahogany. But, it has to be taken in consideration when coupled with the electronics as well.

[@kbkman7742]

Fretboard timber only really makes a difference in feel, and how easy it is down the track to refret. It's a pity rosewood is about to be phased out, when you get a really really nice piece it sustains well, looks pretty and feels awesome.

[@davesmulders3931]

Guitar builder's basics..... episode 193. If there are 193 basics videos, I don't want to know what the advanced course would look like :)

[@Tostra1997]

I have a few questions, actually: 1. You've built baroque violins or something very similar, right? I started restoring violins before I finally (after way too years of wanting to do it) started building my first guitar which is now almost done. Now I've been wondering for some time: Why do people say that sandpaper is a no-go for violins? Is it simply because bladed cuts are smoother or is there a "better" reason? 2. Can you tell me about plate tuning? I've been wondering what all these "Mode 2" and "mode 5"-things are, and I actually really want to experiment with that on a future instrument, be it a violin, a cello or a guitar. 3. Is dense woods necessarily stronger than less dense ones? 4. Is spalted wood as strong as non-spalted wood? I would love to make a neck out of spalted maple on either a guitar or a violin, maybe even the whole thing apart from the top if it was a violin, but I'm not sure if it's too weak? I hope there's something here that you can use for a video, because I could definitely use your opinion :-) Cheers, Tobias

[@dyingslowly666]

I'm looking to start making guitars but I want to do a neck joint thats not widely used called an invisible bolt joint how would I got about routing the pocket and getting the hardware to use on said neck

[@unfcknblvbl]

How does lacquer affect the tone?

[@kornelious1]

What's your opinion on Richlite?

[@SlowMenThinking]

In my guitar beginning rosewood was the fret-board. a few years ago I built a Strat style guitar and maple was my only choice, I hated it the look the feel etc. Then came the Dumpster rescue a 1984 MIJ 3st Squier one bullet, You guessed it maple under heavy gloss. By then the Maple on the first electric (TruOil finish) had grown on me, The maple on the 1984 guitar had grown on me. while neither of these had the white look maple of the new store bought guitars it was not the heavy amber colour of old nitro. Then came the Wiles built from cast offs from the internet you guessed it Maple but this one had a reverse head-stock with a angled back head-stock with volute. I love the look and feel of maple now but I still love my rosewood. There are some colours that work with maple and some that work with rosewood.

[@thierryreus3926]

Since many of your subscribers have more knowledge about guitars i thought I'd ask my question here. I'm currently building my first guitar i bought a bookmached drop top for it. But it began warping so I tried to heat it up with steam and press them flat with alot of weight after a few days they were flat. Now they begin warping again. What is the solution for this. And how do i get the tops against eachother without a gap in between them. I dont have access to fancy tools or a lot of money so anyone help me out. Sorry for my English

[@kevinlynch5925]

I'd be more interested in the durability in which wood to use on the fret board.

[@Flodblod]

What are your thoughts on Richlite fretboards

[@elijahmaurer9039]

Could you answer this? Tips on making template sets for models with the same shape but for many different setups and iterations?

[@davidpatrick1813]

I just ordered my first semi-hollow guitar. It says it has an ebony fret board ... so I tuned in here to learn what it's about... sustain? color, etc.... I heard one place one needs to keep it treated or it will crack... I hate being ignorant but I am learning.

[@daviddoe2440]

Well.......that was entertaining!! So I'm going to try to make you stumble and stammer again. I've recently started looking for a small body hollow body electric guitar to replace an heirloom Gretsch Country Gent. I'd like to preserve whatever is still in good condition. LOVE the tone, and feel of this axe! It's an early 70's model w and ebony fretboard. On Gretsch's site are basically 2 depths of bodies. 2 inch plus or minus, and 3 inch plus or minus. With a smaller bodied guitar would it make much difference in tone between the two depths? I would think volume would be the most affected, but I really don't know.

[@DavidImrie]

Funnily enough I was planning a gloss ebony fret board. Its hard to find examples. Have you seen any?

[@steveeckert8396]

Thank you so much for saying tone wood has a minimal effect on a electric guitar. I really believe the major MFG's have been selling us a load of crap since they began building guitars. I bought a USA Fender in '92 with a Wilkinson Trem and nut and lace sensors pickups. I wanted the classic Strat tone and this was as close as I could get without spending $$$$ even back then on a vintage model, even back then. I changed the pups and that helped but it didn't get me where I wanted to be. FINALLY I did a deep dive into tone. I Started on KZbin and talked to to many luthiers before I finally "fixed' the tone. I ordered steel bridge saddles and a steel Trem block from Callahan's in the US. Now it has THAT STRAT SOUND. Fender was putting and may still be putting zinc and other crap into their hardware. If you don't believe it's crap looks at their prices compared to other parts MFG. I just subscribed. Thanks for providing honest sound advice.

[@euanevans9087]

If you were to build a vintage style, lacquered, solid rosewood neck (much like some of the recent fender custom shops) would you need some way of preventing the wood, under the surface, from drying out? Thanks for all the videos, they’re great!

[@vapertainment5313]

I love how you can hear a planer betting the business in the background. That thing needs a raise, it is working.

[@briw4647]

I have a guitar with an engineered rosewood fretboard, it looks ok, like wood, but also looks and feels very dry. is it ok to treat it with fretboard conditioner, even though I don't think its real wood

[@CrimsonCustomGuitars]

Hey, test a bit on a small section to be sure but I cannot see an issue and it worth a try if it will make you enjoy the guitar more! B

[@thewhiskeycowboy-official]

Indeed! As for relicing a guitar.... I get why there is an appeal. But it is, for me, the ILLUSION of history. It is FAKE. A guitar that has wear due to use and age tells a story, a history, a LIFE. A relicked guitar tells a LIE. I don't buy distressed furniture. I don't buy distressed ball caps or western hats. I don't buy distressed boots or jeans. And I can do this all day and then some. I don't want to buy wear and distress, I want to buy NEW and then what happens is EARNED. People don't want to EARN things, or take the time for things to happen... so.... "relic". That said, have at it. And there IS a market for it. I am not that market though. LOL Cheers!

[@Brandywine6969]

Pickups and your amp and any effects you may use affect tone more than the wood in an electric guitar. My favorite guitar, as far as sound goes without the amp, has a basswood body, I don't know what the neck is, probably maple, but the fretboard is rosewood. I bought another model just like it but one year earlier in production, with a maple neck and fretboard and fell in love with the feel and look of the maple fretboard, but tone-wise it's not very different.

[@MKYCmusic]

Hi Ben. I have a similar question. I like the feel of maple boards for bass guitars but nit the look, so I've gone with a Bubinga board for my bass. Would this need to be grain filled before being lacquered, and if so how would you do it? Thanks!

[@homegrownson]

Selection of Woods can determine Minor Enhancements in overall Vision of Builder and agree you wont hear much differences in fretboard tone woods, although Maple might be Slightly Brighter in a Mix, the reason for Fretboard choice is More Feel and Appearance then Tone. I myself lean to feel of an Ebony Board

[@matthewseddon8613]

I think the resultant difference in sound due to fretboard material is how it affects the player, playing on a maple fretbaord, particularly a lacquered board will feel very different to rosewood or ebony and as a result change the way a guitarist plays, change the way they bend a note or slide, change the motion of their vibrato. Hence their may be a perceivable difference in sound, but just a strummed E chord or a single struck note from the same guitar with the same pickups will sound the same regardless of the fretboard

[@mattymatmatmat977]

Can anyone help me I have a neck through carvin dc127 with a rattle in the neck I'm assuming this is the truss rod. The truss rod appears to be a dual action type and still works so no problem there. How can I stop the rattle?

[@lvonh9388]

a toothpick wedge under the truss rod nut maybe...

[@mattymatmatmat977]

Thanks for the reply I could try that but I have tried holding the nut and it still rattles when I tap the back of the neck. I have heard of people drilling out fret markers and injecting a watered down glue solution. I was hoping to get away with just removing the nut and putting something in the chanel. I've heard of some stuff called chair lock which swells the wood fibres. I don't know if this is a good idea with a neck.

[@lvonh9388]

drill thru a dot and injecting or press something in was my second though but I'm afraid that it will prevent the truss rod to work fine as it have to move freely up and down in is cavity. Removing the fretboard to fix this issue and glue it back could sound scary but it's not as hard as it seems (lot of vids on that on YT) and a decent luthier could do it (if you not feel ok to do it yourself) for a reasonable price.

[@lvonh9388]

by the way is your neck straight?

[@mattymatmatmat977]

Thanks for your help. The neck is fine and I've also changed from 10 52 to my preferred 9 46 strings and adjusted the truss rod to suit and the rattle is still there. In all fairness it's not evident when playing but I know its there.

[@clayw3192]

Why are maple fretboards traditionally lacquered compared to an oil finish? Anybody know?

[@uniquepieces7365]

Clay w ...asthetics, they will discolour and look grubby quickly being lighter coloured timber, Also maple is generally not very porous so it will take a while for any oils to penetrate I have oiled some maple boards in my builds with truoil and they look fabulous but thr do tend to discolour quickly

[@remley8877]

I couldn't agree more. A guitar is made of 99.5% not fretboard,and .5% fretboard. In the grand scheme, whether you finish a guitar in paint and poly, or stain and tung oil, probably makes a bigger difference than fretboard material. Inconsistentcies in pickup windings probably make 10 times the difference of either or both of these factors. If you like the look of maple, go with maple, if you dig rosewood, go that route, if you prefer the tone of fossilized wail penis do that, it makes no audible difference.

[@tkzsfen]

are there new technologies to be implemented in guitar building in the near future?

[@getreckt2926]

why the maccasar ebony of the guitars today are that bad?

[@garymcconnell7202]

Hey Ben, how about a burnt maple that’s been lacquered?

[@nickstratton7256]

Hi Ben! I've had two differing opinions on how to get into guitar building and I would appreciate you being the tie breaker! On one hand I have the owner of Skervesen (who is almost finished building me a custom Swan!!!) saying the only way to learn without a course or proper training is to jump right in and start building (with guidance from books, videos, etc. I'm assuming) And I have another voice telling me a better idea is to buy a cheap, plain guitar and customize it and use it as a starting point for learning fretwork, neckwork, staining tops, replacing hardware, etc. What are your thoughts? Thanks for everything you do!

[@TheBradcaster]

on the subject of staining a maple board, the banjo company Deering have a model called the Goodtime Classic, which has an all maple neck and board and is stained dark brown. Check it out to see how it might look.

[@andrewsporkelson1185]

I’d say that it’s extraordinary subtle. But there is some very delicate change in tone. Salt is used very little in food but can change a flavor profile. Just a gentle dash of seasoning is what I’d compare a fingerboard to. It’s not even as noticeable as the seasoning would be to your food but that’s about the beast comparison I can come up with at the moment. Or perhaps I’ve fooled myself into thinking I can tell some difference in these things over the years.

[@stoosam3244]

"...through an amp..." is the key phrase. When playing acoustically in one's bedroom, which to me is just as valid, you can hear all the differences. The pickups just puck up what is originally there, although obviously you can play with that tone a lot.

[@CPettybone1]

To relic or not to relic? My main instruments were all purchased new. As I sit here watching this video I'm "noodling" around on my Godin mandolin. Every "ding", nick, scrape,scratch, dent, and scuff I've created myself through 14 years dragging it around to countless gigs. This thing has memories and happy thoughts all over it. I don't care what people do to the gear but for me to relic means to age and my babies and I are getting old.

[@ljkj63]

dont care about tonewood i want to know which fingerboard is smoother for bends and playing? maple or rosewood or ebony or pao ferro.. thanks for your time!

[@scottbegg7459]

I would love to see some more vids on guitar wiring, I am building a guitar with two humbuckers and am struggling to figure out how to wire these. I want to coil split both pickup too

[@jairosanchez07]

scott begg did you ever figure out how to wire it?

[@berntedvinsson5397]

i would sa that there is a sound difference between a neck with mapel and rosewood fretbord

[@kroasta]

And what about a robiner fretboard?

[@theauthenticcap4830]

Quick question: How would you approach finishing a guitar with lacquer if you do not own a spray booth? What lacquer do you prefer? I like the feel of an oil finish but i really like the gloss of the lacquer. Any tips would be appreciated. Keep the nice videos coming and Cheers fron germany!

[@HearGear]

I would like to see a 5 hour guitar build soon... :D

[@rioa.s2006]

hi ben, I'm rio from Indonesia, previously I see that you fixing the twisted neck and maybe you have heard this question so many times, what kind of wood that has a good durability for long playing period? I hope I got an answer, thanks.

[@theauthenticcap4830]

When are we going to see the Les Paul kit? (Sorry if i missed them, if so please ignore)

[@leocomerford]

Resin fingerboards, hmm? Thinking about doing a fretless bass, maybe?

[@stevelegg4898]

I am at the planning stage of my first couple of builds but I am on a tight budget. Is there any particular brands of components/pickups etc that you could recommend that are not just cheap rubbish?

[@kemptonklutz]

Wilkinson parts throughout. Even the pick ups. There are people who have swapped out their American standards for Wilkinsons pick ups. Locking tuners, the bridge, everything. Ben will agree with this, I'm certain.

[@stevelegg4898]

+Kempton Klutz That is the sort of advise I need. I shall check them out.

[@stevelegg4898]

+Kempton Klutz Forgot to say thanks

[@Team-Darwin]

Was considering the same experiment with a fretboard while watching "Stabilizing: Infusing resin with a vacuum" by Peter Brown a while ago. He has been given a nice kit to test out, the resin in the kit is called Cactus Juice, check that out...

[@Dougal78]

On anything other than very small vintage frets, does anyone actually find their fingers touching the fretboard? I don't think on any of mine that I can actually feel the fretboard when playing. The only part of it that really comes into the feel of things for me is the edge of the board and if it has a nice round over. On the relic thing, I love them and own a 60's strat heavy relic. I think they look cool, but more than anything they feel lovely, and I don't have the worry about dinging a pristine, expensive guitar!

[@jimcamp2423]

As long as the set up is optimal, there's going to be indiscernible differences in tone. There's also a tone knob that can adjust that. Spent the last 4 years of my life tweaking guitar set up, from not knowing squat about the set up process to just becoming aware of shaping that happens with relief and generally overthinking & sweating the details to borderline insanity, truss rod relief matters, the frets, nut material, the wood in relation to he strings and what the pickups capture all matters. It adds up as an accumulation for slight differences to become an overall tone. That said, one can perfect the tone with the guitar and all that is wasted by blowing it with the signal chain into & EQ'ed with the amplifier's tone stack. It doesn't end there, the speakers will also have to broadcast the whole processed signals into rooms that acoustically might also sandbag the efforts of tone. If you look at the cabinets & speakers, the wood of a combo or cab might be MDF, the speaker might have some more or less exotic cone material, different dimensions of a coil too. To control all of that is absurd to think we have that much control over the end product of music. when I hear my gear, it's amazing that it sounds as good as it does with the random combinations of an entire rig. How parts play vs each other is an interesting topic, new strings on an older broken in guitar with a speaker that has settled into it's own.

[@CheshireGrinGuitars]

Ben, I have a question. Last summer I built my first guitar (several binge-watching sessions of your videos were a huge help). I used bloodwood for the fingerboard and after a few weeks of exposure to the cold, dry winter air the wood shrunk quite a bit so I had to re-dress my fret ends (it was a fair bit of work so it shrunk quite a bit, maybe 1mm on each side of fret stickout). I assume this was a case of the wood not being properly dried. Now, I haven't noticed any significant changes during the latter half of the winter, would it be safe to assume that it has fairly well stabilized or should I be concerned about further size changes? I will soon be doing some rework on this fingerboard as I wasn't happy with my chosen radius and I had left the blank too thick so the neck winds up being thicker than I would like. Are there any considerations I should make given the shrinking issue above? I had never worked with bloodwood before an am a woodworking n00b overall, are there any tips I may not have been aware of for working with this wood?

[@stakwalderbak5331]

Australian Gidgee fretboard?

[@kyledeluca5049]

Hi Ben, love the channel, you the most knowledgeable guy on youtube when it comes to building and fixing guitars! So here's my question. I am currently building a kit guitar (sorry, its not one of yours, it was a gift), and the set-in neck slot is a little too big for the neck. What is the best way to remedy this? Would you put wood shims in? Would you use heat ad moisture to expand the wood? This is my first guitar build and I would like to get an at least working guitar. I appreciate your help if/when its given.

[@stefva9464]

I would carefully glue the wood shims in a little bit oversized, then sand them down until you have a perfect snug fit!

[@ClaytonwFirth]

Look at a series Ben did several years back when he and an apprentice assemble a kit guitar. This was when he was first thinking about making kits himself.

[@chrisdavidson911]

when you say a little bit, how much/far do you mean?

[@kyledeluca5049]

About a mm on each side.

[@deathruddlesdeathruddles5438]

Hi Crimson Dudes, With regards to resin and wood, try watching a chap on youtube called jacklore knives,( if you haven't already). He talks you through a process where he stabises the wood handles for his knives using several different liquids in a vacuum chamber overnight. one of the liquids is something he calls cactus juice...

[@ProCoRat]

Kerry "God Save the" King

[@leonardoceccarini5570]

I'll leave this comment here too. Hey Ben, I have a question, So I built my guitar, I leveled, polished frets and all of that, but I get string buzz in the first few frets, it's driving me crazy, i checked with the fret rocker and it's fine, truss rod and bridge are ok... I don't know what to do...

[@leonardoceccarini5570]

Leadguitarman1 the nut too is right...

[@harry9392]

Bad nut

[@leonardoceccarini5570]

Harry Williamson the nut is fine, i checked, maybe the strings? I heard that new strings are likely to buzz until they worn a lil bit.

[@mixodorians12]

Even if you could say that the wood affects sustain and tone (it doesn't), woods tonal properties are not consistent enough throughout it's species to even create a metric. You can get four different pieces of maple, from different trees, cut in different continents and at different times and they would all sound completely different. So you cannot say species affects tone. Or even that this species does this and that one does the other. If YOU paid 500 quid more to have a swamp ash body and you were convinced it gave you a unique tone, you, my friend were done up like a kipper. Sold and bought snake oil. I am convinced that in the future there is going to be a class action lawsuits against major guitar companies for peddling this b.s. ."Bought a new guitar between 1986 AND 2016, get your TWIBS claim in before it is too late".

[@nickpol1899]

Stuee The wood does affect tone but its so miniscule that with a little bit of drive you arent able to hear a difference. Oh and that thing you said about species is totally correct. Only the volume and desnity of the wood affect a guitars tone (sustain etc.). I have ran tests and it is impossible to tell woods appart from hearing them. When i pick woods i just go by looks cause their tone can get masked very easily :)

[@CrimsonCustomGuitars]

TWIBS Claim :'D

[@Knarf009]

What he's saying about the fretboard tonewood is completely false. Darrell Braun Guitar has a video up where he swaps the neck on a telecaster and does a side by side comparison and it's not the same tone. The lower notes are distinctly different sounding with the rosewood fretboard. The Bass Channel also did a video comparing a maple neck and a rosewood neck on the same p-bass, which also demonstrates a difference. Swapping the neck on any of your guitars for a different tonewood will alter the sound of that guitar. You might find the difference to be negligible, but to say it doesn't exist is wrong.

[@nmssis]

yeah, it really does not matter.... folks are still going about this??? tis all about look and feel

[@goatofthunder2496]

nmssis and by my opinion there's nothing pickups or amps can't manipulate on an electric guitat

[@nmssis]

thank you...I agree! then there are "Tone" knobs. This sustain...how many songs are there where it calls for single notes to be played stretched for 4 measures? Sure there is "More Than a Feeling" but if so what, going to build a guitar for that one song???

[@MrAntifed]

Every single guitar, with the exact same everything, will sound different. There are too many variables

[@nmssis]

@@MrAntifed I agree but how much does that matter when we throw in variable of different folks with each of his/her own finger tips...idk.

[@kemptonklutz]

We don't all want to wait 20 years waiting for 'That look'. Most people don't want to spend 5k on an original road worn. If you want own an old looking guitar, although I do think it's better to do it yourself if you have an artistic side.

[@willxin4517]

Kempton Klutz I

[@dr_lulz]

Rocklite - high quality sustainable fake wood. Every part of a guitar affects the tone but whether one can hear it or not will vary from person to person. It is based on experience, perceptiveness and the ability to be consistent imo. Sometimes though it beyond human capability to accurately hear the differences. The main thing that affects the sound is the overall structure/principles. You could make an acoustic from resin and it would sound tonally more like an acoustic guitar the a flute, but compared to a Brazilian rosewood and redwood instrument built to the same standard it would not be the choice of any “good” ear. Robert Johnson allegedly learned on some wire nailed to the side of a shed.

[@harry9392]

Why buy a battered up scraped dented scrap looking guitar when you get a nice looking Beutiful guitar

[@theperfectsetupguitarandba4816]

Some are sensitive to hear the minor differences. Some are not. I have heard a difference in most of comparisons that I've heard, it does matter the quality of test or video. The sensitivity of amp and speaker do help in hearing minor differences. Through personal experiences of mine, it is hard to tell these minor differences in solid state amplifiers or through heavily voiced amps or pedals. Capacitors are extremely difficult to differentiate through these. I do agree with the suggestions on trying to get the sound and feel of a maple, but the look of Rosewood.

[@kemptonklutz]

I'm sorry mate, but your'e kidding yourself and there's been an awful lot of money wasted on such hocus pocus. Tone comes from the player, heart and fingertips, the pups and the set up. Honestly, chipboard sounds exactly the same as swamp ash. Sad but true.

[@theperfectsetupguitarandba4816]

Kempton Klutz, it's sad but true that you are one of the one's that are unable to tell between the minor differences. I've done neck swaps, I've done pickup swaps, I've experimented with capacitors, then I've played them, first hand. I've experienced the changes first hand, no camera, microphone, digital processing, secondary amplifiers with different speakers, just the instrument and the amplifiers used. Yes, fantastic tone does comes from a great player, but that player can further shape their tone through everything in the tones are being played through. Everything has a coloration that adds to the sum of what we hear and feel. Some things more so than others. Reality is one's perception to the environment around them. You can deny your own perceptions, but not the perceptions of another. The claim that the reality that I have heard and felt was an experience of my imagination, is to claim my reality is not real. I assure you that I'm based in reality, I don't hallucinate what I hear and feel. That's why tone wood is such a touchy subject for some people, it challenges one or another's perception of reality. One asks "do you smell that? " and the other says "no", then they find the smell, they are more sensitive that the other. Sound being invisible and time sensitive, we can't pick up the sound and stick them close to your ear, so that you could hear it better. Physical attributes in one's ear, connections from the ear to the brain and processing of the information received, is hearing. Physical attributes of obvious in how it could or could not receive sound. How sensitive the processing and the amount of processing is different from person to person. If you don't hear a difference, that's your reality. Don't try to claim what another perceives as reality to be false, because it's very much a reality to them. The placiboo affect is an argument put forth by the one's not sensitive enough to hear the differences. As an excuse to not admit that another's hearing sensitivity is higher than their's. I've done enough open tests (not even tests, just changing things) in where I was expecting nothing or something different than the actual outcome. Some pickups like one wood but not another. Those same pickups might like the wood that it didn't like in that one guitar, but is now at home in the other guitar of the same wood, because of the size or shape. Some amplifiers do not like some pickups. Some capacitors don't like some pickups. With some amplifiers it makes no difference what you hook up. If you can't hear a difference, you can save yourself some money, and get the cheapest stuff out their. And there are ways around spending a fortune on the woods you want(except exotic woods). If someone is spending their time and money on something in which they feel is more suitable for them, let them. Would you tell Eric Johnson not to remove the paint on the guitar to expose the wood under the pick guards, bridges or cavities and tell him that he's imagining the better tone he's getting? V shaped necks are rare, not having to take care of an open fretboard is nice, the look of Rosewood is nice, the sharp accurate sound of maple is nice. This is what this persons thinks would be the perfect setup for their guitar. What is your perfectsetup? Is it a pressboard guitar, with a cheap solid state amp? I highly doubt it. Otherwise why would you be on this chanel? You obviously like guitars and music, so your ears aren't that sensitive. That doesn't mean that you are any less of a musician.

[@ryanthenormal]

My beastie has a torrified maple fretboard. It's not quite as intense as rosewood in appearance, but it's really rather attractive.

[@richwatts1981]

would African blackwood work for a fretboard?

[@PippPriss]

richwatts1981 Am I a horrible person if I was first thinking this was a really aweful slavery joke thing...?!?!

[@CrimsonCustomGuitars]

Yes :)

[@dughuff8825]

Check the vid with the guy comparing a solid maple neck to a solid rosewood one. There's a definite difference and he states that all the solid rosewood neck strats he's played exhibit the same tone - i.e. the rosewood is brighter. Not the most scientific of tests, but I think the way the wood absorbs/ promotes string vibration must make a difference. On a fretboard alone though I'm sure you're right Ben.

[@beatsmithaudio9245]

Wondering is the resin he's talking about is ecopoxy.

[@mixodorians12]

For me sustain is all about technique. I can play the Flying in a Blue dream note ( that top C note that sustains for like 16 bars) basically indefinitely.. What you basically do (the trick, because that's all it is) is pull the b string out of the way with your index finger and vibrate the crap out of the c note on the e string....and practice,,,and practice..anc practice. The string just rubbing on the fret will sustain it. I could do this with a guitar that was made of clay, as long as it had frets. Basically this sustain stuff was started and just a load of nonsense to sell Gibson Les Paul's. Garry Moore was probably paid a fortune for pushing it...when all he was doing was what anyone can do on basically any guitar. For the wood to affect the tone on an electric guitar, say on my Ibanez Jem the vibration from the string would have to escape through the massive block of metal where a nut should be, go into the headstock, (via the tuning keys) then be reflected back, come back out.. carrying it's distinct tone from the tone wood..go back through the tuning pegs (via the screws that hold the tuning pegs) , and through the massive lump of metal where the nut should be (Ibanez patented floyd rose system) , ..go through the string clamps block, into the massive metal block that is the Ibanez low pro edge...into the knife edges, then be transferred to the posts, transferred into the metal sleeve things...into the wood...come back put of the wood...into the sleeve, thingies, into the metal posts..into the knife edges, into the trem system, into the intonation screws..into the string clamps, block thing and into the pickups..carrying It's unique tone from the body and neck of the electric guitar. Seriously,...come on chaps.

[@tim8767]

Baked Maple. A few years ago Gibson sold their guitars with this as the fret board wood. My Flying V has it and it looks good, kinda like a lighter colored rosewood but it still feels like unfinished maple. Smelled pretty good for a couple of years. It's odor free now. LOL. Good Luck.

[@paurelius885]

There is a difference in sound to Your ears for the first maybe 30 Seconds if you’re looking for it. I think durability is a thing too. Because I want an ebony board but I live in a very humid area with dry winters. And at that. Rosewood is king. Lol.

[@soundknight]

It's a feeling type thing and it affects the strings, in a similar way to string length

[@danchuk-h6z]

There is a video on youtube (rosewood vs maple - guitar tone comparison), that show's the diference in the tone... But I dont sure if it is real ! What do you think?

[@thespiritof76..]

What our ears do recognize though is “MASS” in a neck.. maple vs ebony vs rosewood I’ve done the test’s on all and the mass of the neck SIZE gives a noticeable response in bass treble and sustain...

[@KarlKarsnark]

Thanks for bursting the bubble about fingerboard "toan wood" myth. It's pure placebo and OP should just get what feels/looks best. Although, ebony is a poor choice inasmuch as it is one of the most destructive forms of exotic wood harvesting and even when a given tree is harvested, unless it is black enough for market, it will often be ignore/discarded and up to a 100 "undesirable" trees can be felled in order to get to a single ebony tree. Not to mention the notoriously corrupt supply chains involved in getting it to market. Maple is a great sustainable choice that ages well can be finished in several different ways, or even stained. Then there are the various man-made products like Richlite, which are incredibly durable, sustainable and come in zillions of different finishes.

[@emmsone]

There already is a "fake wood", its made in Britain, its called Rocklite. Its fantastic. However it should not to be confused with Richlite, which is the phenolic resin/pulped wood product which is decent but completely different.

[@stevenmgyori3826]

Thanks brother, appreciate your efforts and insight!Well done!

[@shaunm1983]

Couldn't agree more and I can't understand why anyone would think the fretboard material would make a difference to the sound

[@TheDarkmore]

Relic on a guitar without the actual years of playing doesn't appeal to me. After years of usage the "natural" relic is a reminder how much effort you have put in the instrument and the joy you got from it. (Well...tonewood..., love your opinion Ben!)

[@aceofclubs6375]

appreciate your honest answer, placebo effect. cheers

[@rickbloom1869]

There's a resin called renuzit (or something like that spelling) that is like water. Its for "rejuvenating" rotten wood in boats. Wood sucks it up like water. You might try that?

[@intralimpidus6216]

renuzit is an air freshener

[@rickbloom1869]

Its also an epoxy resin.

[@rickbloom1869]

This is pretty much the same thing. The stuff I was talking about is a 1 to 1 mix. This looks like it might be a different mix but pretty much the same thing. www.westmarine.com/buy/boatlife--git-rot-penetrating-epoxy--P004_120_001_009

[@OzoneFlyer]

Would be good to see a video on sanding sealer's like what type's works with difrent finishes like nitro and urethane clears. What makes you use too.

[@luciansatanas5664]

while it is the truth i would have to say that the way you hit the strings on those guitars and transfer that energy is profoundly effected and thats what gives us the illusion that they are so different. so truth be told its more about aesthetics of the wood. ebony is my favorite though

[@simonpreston1693]

I'm intrigued with this whole tonewood debate. I've been playing almost 45 years & have been convinced for years, that it's really a 'thing'. But I'm more than happy to accept that many disagree. My attitude is quite simple. It's my money & if I think there's a difference, then there is 1. For those that don't believe there are differences, the same principle applies....it's your money, simple as that. My only gripe is someone not using their own ears, rather than listening to the blurb of some salesperson. As for fretboards, I personally can't hear a difference (I believe your point about the small amount of wood involved, making it difficult, if not impossible, to hear a difference, but each to their own beliefs). Just remember to trust your own ears (you're going to be playing the instrument, after all) & use your own judgement. As I already said, it's your money... spend it wisely, according to your own beliefs, not somebody else's (especially someone who has a vested interest in getting you to pay more).

[@daviddoe2440]

I response to the material type of fretboard, Squire uses what they call an ennal on thier bass fretboard. The look and feel of ebony! We've got to change out thinking, imo, and come up with alternatives to stripping out the rainforests! I'm not at tree hugger, but I do believe that we can't continue destroying our rainforests for the sake of profitable lumber. I'm also not a scientist, but the raiforests do help filter out the damaging carbon in our atmosphere.

[@daviddoe2440]

Ebonal, not ennal. Darn autocorrect.......

[@jvin248]

No matter one's opinions on 'tone woods': using endangered rain forest lumber on an instrument is very much like demanding elephant ivory or rhino horn inlays - just inappropriate for the modern guitar player. Guitarists support numerous social, environmental, and political causes -- why not start with demanding woods from local and faster replenishing lumber species right on their own guitar? Even if selecting from 'managed' sources, their use perpetuates demand. Professional players should be the visual mark that it's their skill keeping them up there on that stage not magic lumber -- doing their part to save the rain forest.

[@robertanderson8613]

I would try a product called cactus juice it's used to make punky wood solid good price too I've used it on splayed wood now I'm gonna have to try a fret board lol good show

[@oceanfloormusic]

I would have to disagree with the 'fretboard is only a small percentage of the guitar's mass' argument. I don't think that proves anything either way. It's not just about the amount of material, it's also about what the material does and what it's connected to on the guitar.