I searched the boards but didn't find an answer to this one. Given the fact that this is the luthier forum, I think it's safe to say that a lot of you are qualified to answer this question. If you were to make your own bass, based on stiffness and resistance to warping, what would you choose - a one-piece neck or a compound neck? Another acquaintance of mine says that it all depends on how you cut the neck. A well cut one-piece can be just as stable as a compound neck in his words. What are your opinions?

I assume that by compound you mean laminated.

Theoretically a laminated neck is more stable than a one piece neck. Truth is if not done correctly, a laminated neck can be as bad as a poorly chosen one piece neck. A well chosen piece of flatsawn or quartersawn wood can also be more stable than a poorly constructed laminated neck. I build both laminated and one piece necks and I currently choose one or the other based on what look I'm trying to get or if the customer explicitly asks for one ...other than that, a one piece neck is easier to build.

Concerning neck-throughs, could you say that one of the reasons for building a laminated neck would be to blend tonal properties of different neck woods?

ummm, given my history here, I don't think I'm the right person to ask about the tonal qualities of wood ...and I'm definetely not going to start another war.

anybody wanna jump in on this one?

I think the most common reason for making laminated necks is looks. Some do it for strength, but that's my opinion.

Laminated necks, as mentionned before, as more stable than 1-piece necks, if done properly.

The other advantages of laminated necks, other than appearance, is that it can also potentially reduce the possibility of dead spots. I'm not sure about this, but I think it has something to do with the different resonant frequencies of each piece that comprises the neck end up cancelling each others out or something. I wouldn't give this in the form of an answer on national TV though.

The potential for problems is greater in a one-piece neck. If you could find a perfect vertical grain (flat sawed) blank with consistent sized growth rings, and properly dried and sealed- you'd come close to a lamination. But, where you going to find it?

Out of necessity I have built several SSB necks. I have a fair supply of recycled mahogany from old barrooms. I plane to 1/2 thickness and orient the grain (for whatever little difference there is) for each piece opposite to the next, and glue properly. There ain't nothing gonna move this thing around. Nothing!

The only problem is, it is so rigid that the relieve must be machined in, or the neck tilted. The strings have no effect on it, and I don't want to add extra weight putting in a big enough truss rod to bow this neck.

If you go for a 1-piece, you need to get really good wood. Flatsawn or quarter sawn, both can be used.
You need to make sure that the actual plank is stiff enough! This depends on species, place of growth, where in the log this plank was cut from, microscopical irregularities...etc. All these factors also imfluence the risk of warping.

The lamination process will counteract some of these issues. You can direct the grain and growth direction in different ways, and use several different planks, and with some knowledge, some intelligence and some luck, the result will be good.

With laminates, the possibilty opens to use all kinds of materials, esp if the laminate is parallel to the fingerboard surface. Then you can use a stiff slice on the back and front, e.g. wenge or downy birch, and a core of spruce or aspen... You need to seal the wood well if you use these... Or you could put in some styrofoam, if you like extra extremes (I don't!).

But to end this story of mine: a well done single-piece neck is a great achievement!

It would be very difficult to discern the tonal qualities of any one wood in a laminated neck. Part of it is like Phil said - there's a lot of cancellation going on. The rest of the problem is determining just how much of the percieved tone is attributable to each species - like 20% walnut and 80% maple? You'll see more tonal difference from varying species used for the body because both the strings and pickups are mounted directly to it. Of course this only applies to bolt on instruments.

For years laminated stocks have been used on acurized target rifles do to the consistancy of the vibrations occuring when the firearm is discharged. This consistant vibration results in tighter groups down range.
Could this consistant vibration apply to instrument necks and tone quality?

http://i42.photobucket.com/albums/e327/Greenman44ca/50_BMG_Tracker.jpg

http://i42.photobucket.com/albums/e327/Greenman44ca/50_BMG_Tracker.jpg
Shoot! A Ritter gun.

Shoot! A Ritter gun.

A Seal gun of course!

:hiding:

The first bass I held in my hands and wound up playing for some months in the mid 70's was an old Teisco "tulip" shaped short scale. The neck on that bass was a laminate made from about 1/16" thick maple strips - lots of them! It had a unique ribbon pattern. I don't recall where the trussrod was but it might have been at the bottom. It wasn't a "rockwood" type thing, more of just a laminate with standard hardness. The neck was bound and blocked with a rosewood fretboard. So multi lams have been around awhile and utilized in budget instruments.

Kubicki also does a 34 layer laminated neck.