Page 3 of 6 FirstFirst 12345 ... LastLast
Results 21 to 30 of 56

Thread: The Wood Doesn't Matter ...

  1. #21
    Quote Originally Posted by adorshki View Post
    ...Unless the guitars in the subject experiment were D'Addario EJ-16's, the whole thing's worthless, they didn't use the right strings.
    Too funny
    - Christopher

    1975 F-212 NT (overhaul started in 2016)
    1975 F-212 NT
    1976 F-50R NT
    1976 F-512 NT (Overhauled in 2010)
    1980 F-412 NT (Overhauled in 2014)
    1988 (G)F-60R NT

    Diagnosed in childhood with a CLWEA genetic predisposition
    CLWEA is an acronym for Can't Leave Well Enough Alone

  2. #22
    Quote Originally Posted by adorshki View Post
    ...That's what I mean when by "coloring": the way a given body wood changes the waveform(s) it's reflecting, it's what allows us to distinguish maple from mahogany...
    Here's a photo from LTG member Jim, and referenced in this thread, For Sale, by me, 1987 Guild JF30-12 Black

    This speaks to what you saying. Notice how the black tint colors the maple:



    (Sorry, I couldn't resist...and all the best to Jim as he sells his 12 string)
    - Christopher

    1975 F-212 NT (overhaul started in 2016)
    1975 F-212 NT
    1976 F-50R NT
    1976 F-512 NT (Overhauled in 2010)
    1980 F-412 NT (Overhauled in 2014)
    1988 (G)F-60R NT

    Diagnosed in childhood with a CLWEA genetic predisposition
    CLWEA is an acronym for Can't Leave Well Enough Alone

  3. #23
    Senior Member adorshki's Avatar
    Join Date
    Aug 2009
    Location
    Sillycon Valley CA
    Posts
    25,216
    Quote Originally Posted by JohnW63 View Post
    she said one thing that stuck with me. She thought Ovations were well build and sounded good, until you played them loud enough to hear the back. So, an Ovation has a back shape SPECIFICALLY designed to reflect the sound loudly and evenly. Since it's not wood, it doesn't really color the sound, but it DOES contribute to the sound, or Kathy wouldn't be able to hear it's contribution.
    Interesting proposition.
    At first I wanted to say I think the back does "color" the sound, just not the same way as wood.
    It's what allows her to "hear" its presence at a certain amplitude.
    But I was also just trying to clarify what I mean by the term.
    You got me thinking, though.
    If the back reflects in a way that doesn't actually change the waveform (ie, change relative amplitudes between frequencies and add little fuzzy distortion edges like you could see on an oscilloscope), then sure, it doesn't color the sound.
    So how can she tell when it affects the sound?
    Something else going on, like phase interference, perhaps?
    Or top getting overdriven to the point of inefficient resonance, kinda like "valve float" when an engine's over-revving (engine's not able to perform the complete intake/compression/exhaust cycle because valves aren't opening and closing completely) ?
    Al
    "Time May Change the Technique of Music But Never Its Mission " - Rachmaninoff
    My 1st Guild: '96 Westerly D25NT "Hally" (10-31-96 stamped on heelblock)
    #2: '01 Westerly F65ce "Blondie"
    #3: '03 Corona D40e Richie Havens "Richie"
    All bought new!

  4. #24
    Senior Member adorshki's Avatar
    Join Date
    Aug 2009
    Location
    Sillycon Valley CA
    Posts
    25,216
    Quote Originally Posted by Christopher Cozad View Post
    This speaks to what you saying. Notice how the black tint colors the maple:



    (Sorry, I couldn't resist...and all the best to Jim as he sells his 12 string)
    Ahhhh....but you missed the thread about how finish color affects tone.
    Who was it?, Oh yes, the Smashing Pumpkins guy, Billy Corgan, insists white guitars sound the best.
    Eggshell, to be precise.
    So the yolk's on you.
    Al
    "Time May Change the Technique of Music But Never Its Mission " - Rachmaninoff
    My 1st Guild: '96 Westerly D25NT "Hally" (10-31-96 stamped on heelblock)
    #2: '01 Westerly F65ce "Blondie"
    #3: '03 Corona D40e Richie Havens "Richie"
    All bought new!

  5. #25
    Quote Originally Posted by Default View Post
    Why does my maple guitar sound different than my rosewood?
    Yeah. I don't think I could tell blind-folded whether a guitar is rosewood or mahogany or walnut or cherry or carbon composite.

    But maple? Really? Yikes!

    =O.

  6. #26
    Hello

    This thread starts reminding a discussion with one of my ex-customer - some 30 years ago.
    There was first this silly ( in my opinion ) discussion about different 9V battery brands affecting the sound of floor pedals - that was nothing compared to when it expanded to "right place to buy THIS chocolate" - and worst of all - he was dead serious about it.

    These very important discussions took place while travelling to other towns for next gig.Coming home topics were different - never batteries or chocolate quality on this or that service station. . .

    Methinks he's just plain nuts.
    First good guitar - GUILD Duane Eddy 400 - I was 3rd owner - still regret letting it go 25 years ago - used to have Artist Award and Starfire - no regrets here.
    Present guitars - all bought new - F50R 1975 - F512 1977 - F212CSB 1979 - OM-240CE 2018 - Schecter Startocaster
    Bought secondhand - B30SB fretless - RED Songbird - White Songbird - S-60D - D-125 - Gibson 3/4-size acoustic 1957 - Carmelo Gonzales nylon string - old Levin Lute

  7. #27
    Quote Originally Posted by adorshki View Post
    Ahhhh....but you missed the thread about how finish color affects tone.
    Who was it?, Oh yes, the Smashing Pumpkins guy, Billy Corgan, insists white guitars sound the best.
    Eggshell, to be precise.
    So the yolk's on you.
    Al(bumin),

    You're right in turning up the heat on that post...I let it slide right past me. My brain is totally fried and I have egg all over my face. It boils me when people make such unfounded statements. I guess it could be okay, so long as they are whipping up original nonsense, and not poaching off the ridiculousness of others...

    Regarding how Finnish color affects tone, I need to hear more from Nuuska.
    - Christopher

    1975 F-212 NT (overhaul started in 2016)
    1975 F-212 NT
    1976 F-50R NT
    1976 F-512 NT (Overhauled in 2010)
    1980 F-412 NT (Overhauled in 2014)
    1988 (G)F-60R NT

    Diagnosed in childhood with a CLWEA genetic predisposition
    CLWEA is an acronym for Can't Leave Well Enough Alone

  8. #28
    Senior Member adorshki's Avatar
    Join Date
    Aug 2009
    Location
    Sillycon Valley CA
    Posts
    25,216
    Quote Originally Posted by Christopher Cozad View Post
    Al(bumin),

    You're right in turning up the heat on that post...I let it slide right past me. My brain is totally fried and I have egg all over my face. It boils me when people make such unfounded statements. I guess it could be okay, so long as they are whipping up original nonsense, and not poaching off the ridiculousness of others...
    Ok, omelettecha off.

    Quote Originally Posted by Christopher Cozad View Post
    Regarding how Finnish color affects tone, I need to hear more from Nuuska.
    Granted it's hearsay, but I've been told they don't care what color their wood is as long as it's a hard wood.
    Al
    "Time May Change the Technique of Music But Never Its Mission " - Rachmaninoff
    My 1st Guild: '96 Westerly D25NT "Hally" (10-31-96 stamped on heelblock)
    #2: '01 Westerly F65ce "Blondie"
    #3: '03 Corona D40e Richie Havens "Richie"
    All bought new!

  9. #29
    Quote Originally Posted by Christopher Cozad View Post
    . . . Regarding how Finnish color affects tone, I need to hear more from Nuuska.

    Veeeery funny - as I might have told before - I was at Leo's house playing his guitars - sounding me. He was at my workplace at Berns Music Playing Steinberger Bass through Gallien-Krueger 2x50W transistor amp into two Marshall 4x12 cabinets - sounding him. My workmate came to me saying : "Can ya hear that? Sounds just like Leo"

    If it is of any importance, the bass was BLACK - made of composite fbers of the time. . .


    as of Finnish colours - we have some quite exquisite Northern Hues that make all difference in world to how ANY gitfiddle sounds regardless of three dozens floorboxes and cazillions overlapping tracks in recording. Even if they have original Urei LA-4 compressor to squeeze it to oblivion. . .
    First good guitar - GUILD Duane Eddy 400 - I was 3rd owner - still regret letting it go 25 years ago - used to have Artist Award and Starfire - no regrets here.
    Present guitars - all bought new - F50R 1975 - F512 1977 - F212CSB 1979 - OM-240CE 2018 - Schecter Startocaster
    Bought secondhand - B30SB fretless - RED Songbird - White Songbird - S-60D - D-125 - Gibson 3/4-size acoustic 1957 - Carmelo Gonzales nylon string - old Levin Lute

  10. #30
    Quote Originally Posted by adorshki View Post
    . . .Granted it's hearsay, but I've been told they don't care what color their wood is as long as it's a hard wood.

    NO NO NO

    RED for house walls - GREY for shacks, saunas, docks, boats etc!

    That was for outdoors - inside we have got something else
    First good guitar - GUILD Duane Eddy 400 - I was 3rd owner - still regret letting it go 25 years ago - used to have Artist Award and Starfire - no regrets here.
    Present guitars - all bought new - F50R 1975 - F512 1977 - F212CSB 1979 - OM-240CE 2018 - Schecter Startocaster
    Bought secondhand - B30SB fretless - RED Songbird - White Songbird - S-60D - D-125 - Gibson 3/4-size acoustic 1957 - Carmelo Gonzales nylon string - old Levin Lute

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •