So construction first, then PUs, and the 'bling bling' at the very end (but don't screw up an otherwise great guitar ).Paul Reed Smith Private Stock McCarty 594 Pae Moon Just as an example, my Gibson SG '61 Reissue (obviously mahogany) sounds brighter than my all Maple DC127.Ī Fender Tele (NOT replaceable - If you want the Tele sound, buy a Tele).Ī Fender Strat (Carvin Bolt and many great strat types out there).Ī Les Paul style guitar (Carvin CS is preferrable).Ī neck-through type guitar (Carvin DC127 and SC90 is my fav's). So construction is more important to the sound than anything IMO. I have rosewood bolt necks that sounds more snappy than hard rock maple neck-through, and ebony set-necks. They sound differently of corse, but not to the degree to 'make or break' a recordĪnd the construction has more to say to the sound anyway. No HagstrÃ¸ms atm, 'cause I have given away my Ultra Swede to a friends' sonĪnd they all respond differently to dynamically playing (from light fingerpicking to hard digging in with a pick - all in a great players arsenal). I also like the HagstrÃ¸m Resinator compound fretboards (even and as close to HAN you can get, without.). Just saying there's a reason to why black Ebony (even), Hard Rock Maple (even), and Rosewood (even) has proven its life as GREAT fretboard woods.īecause they tend to be very even across the board (in quality guitars), they will still be the only reasonable choice for fretboard woods IMO (except for some compounds - which is much better than a crappy piece of wood). it's a guarantee, and when certain frequencies clash or intersect, your notes will sink like a uh. or almost completely, eliminates dead spots.

This is one of the reason I have absolutely no problem with playing the so-called composite 'resinator' fretboard, which like other composite boards (like graphite compounds) completely. So, with the HAN finish off the table (no pun intended), and the fact that strings break over the fret, and no one is talking about stopping the string with your finger on the board, and no one is playing a barewood fretless fingerboard, then the varying wood density/hardness doesn't matter much - RIGHT? I mean, everyone is planning on a freboard, not a fingerboard, RIGHT? If so, who cares about hardness of the board, RIGHT? Gumbynotpokey wrote:Correct me if I'm wrong, but you guys mainly play GUITARS, right?Īnd you guys mainly play instruments with FRETS, right?Īnd no one on this thread is talking about a bare wood fretless, right? Which Kiesel/Carvin will never 'admit' to - I meen take a look at (but that doesn't matter, as we are all FAMILY ) Hmmm, maybe that's why my pendulum is back at the 'simpler, solid color side of things' these days (and the fact that in my end of the world Kiesel/Carvin has lost their 'best guitar for money' argument).Īdd in that some of the small things have been of 'lesser' quality lately.

Just differentīut I am too old to fall/break under marketing preassure anyway Options are good, but doesn't make the guitar any better. But IMHO Kiesel is dangerously close to crossing over to that 'overly flashy' side of things, that I 'hate' with some other brands. Don't get me wrong, I'm all in for options. And yes, I think it is very wise to use the worlds resources more wisely.īut to make things more 'valuable and exotic' than it really is, is just business IMO.

The black ebony is the inner core of the tree, the stripy part is the rest of it (more pr tree, and should be cheaper). For guitar building this was just 'waste' (back when ebony were not 'threatened'). Man they are beautiful.Īnd if it costs more, it shouldn't. Dejabluguitar wrote:Isn't 'royal ebony' just a fancy name for ebony that traditionally would have been rejected by guitar builders? I'm glad times have changed and all these hardwoods are being valued and used.

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