UP Music Circle Archives2
it’s been pieced together by multiple 1” strips. Catalog photos often reveal that the endorser gets a
better piece than the production line.B.
Used extensively in Korea, it’s not as hard as hard maple. But it’s a little heavy,
bright in the uppermidrange, and dull sounding in the lows
. The extreme snappy highs aren’t there either because
the pores are so tight that the highs get compressed. Some redeeming qualities can be brought fromit with the right pickups, if you like a brassy, searing upper midrange sound for the bridge or a dry,combed rhythm sound.
Production notes: Korean factories love it, for some reason it’s abundant and cheap for them. It’s
harder on router bits than basswood, but they seem to be less concerned with clean, sharp cuts overthere, indicating that they do not compensate with more frequent bit sharpening and replacement.C.
This wood “shouts”. It is
loud with a strong upper midrange, bright highs, and tapered off but very tight lows
. A pickup that produces good lows will find them in a Hard Maple body, butthey will be tight and will not interact with a loud half stack.Production notes: Very heavy and hard on tools, its rarely used in factories. It makes a good slimbodied guitar.D.
Spruce Very soft to the touch, it is extremely stiff for its
overall density. Like Alder, it’s another wood with a
hard skeleton and soft meat. So in a solid body,
it will produce tremendous resonant, openmidrange, while retaining high frequency attack and having good low end
Because of the low density overall the sound wouldn’t be perceived as having less midrange than
Basswood. The mids will be just as powerful and dynamic amidst the addition of clear highs andlows. Probably
the most full frequency
body material accepted.
Production notes: Rarely used because its softness requires a heavy finish, or a composite “shell” likethe Parkers. The Parker isn’t the best representation of the sound of a Spruce body since there are
many other unique construction methods and synthetics used in the Parker. Would work well withveneer caps or a top, and would offset some of the compressed sound you get with neck throughconstruction.II.
Body TopsTops seem to create a situation where the attack of the notes will be more like the top wood, while theresonance and decay more like the bottom wood. The thickness and carve of a top dictates the degree of its effect on the sound. The glued unit will be more rigid than a single piece, so generally sustainincreases. A.
Maple top on MahoganyThe staple of vintage construction, the Maple
adds crispness to the mahogany, but the lowsand low mids of mahogany are still as apparent
. The Maple combs out some of the uppermids, not because Maple lacks in these areas, but because it is vastly different from mahogany in itshandling of the upper midrange. There is fighting going on in that range between the two pieces that
results in a canceling out of some of those upper midrange frequencies. That’s part of the “smoothness” associated with the Les
Paul & PRS types.B.
Rosewood topsRosewood tops will
add some sustain
, by virtue of the density, but also the lamination itself. Itsoiliness will dampen the attack and the higher treble frequencies. So Rosewood over Mahogany willreally be smooth, while Rosewood over Ash will retain some open midrange resonance. Rosewoodover Alder or Basswood will be a sustain boost with little affect on the tone besides the high midcombing from the lamination, since the high dampening from Rosewood is redundant.