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Roasted Maple Necks?

I had a Stingray HH4 with roasted neck and couldn't tell any significant tonal difference between it and my other HH4 Stingray with regular maple neck and rosewood fingerboard.

Mine was a roasted birdseye maple neck with a matching roasted birdseye maple fingerboard.

Very nice bass, but it didn't sound any different to me.
 
I had a Stingray HH4 with roasted neck and couldn't tell any significant tonal difference between it and my other HH4 Stingray with regular maple neck and rosewood fingerboard.

Mine was a roasted birdseye maple neck with a matching roasted birdseye maple fingerboard.

Very nice bass, but it didn't sound any different to me.

I don't see why it would. As I understand it, the wood is just heated until the sugars in the maple caramelize! It's sort of a variation on "colonial maple". Same Idea only darkening done by aging. I've got a colonial maple drumset I built. (raw shells were sitting out on a shelf in music store for years and years and turned dark.) A couple of the drums had to be made from new white maple shells. Those were stained to match. There was exactly ZERO difference in the tone of the wood between the aged and non-aged maple. I presume same goes for the toasted necks so long as you don't give it a good charing.
 
IMHO the EBMM ad contains way too much marketing fluff: specifically, unverifiable claims about resonance, etc. This is from the Sadowsky site, and seems far more reasonable to me:

Sadowsky Guitars has always taken pride in the quality and stability of our neck wood. We are now pleased to offer "roasted maple" necks for an unprecedented level of stability. Lumber for maple necks and fingerboards is placed in a special oven after normal kiln dying. The wood is roasted at temperatures ranging from 180º to 220º Celsius. The result of this treatment is wood that is significantly more resistant to absorbing or releasing moisture. With this increased stability, the "roasted maple" process enables us to offer figured maple neck blanks for the first time in our three decades of instrument making. We have always advocated that figured neck stock was too unstable to use. However, any piece of wood than has a stability problem will warp during the roasting process and be discarded. It would also be a recommended option for players who reside in areas of extreme humidity (low or high), or who travel a lot through variable climates, as well as players who desire a figured maple neck for aesthetic reasons.

NOTE: The roasting process is performed on lumber. It cannot be applied retroactively to finished necks.​
 
Any one have one for a picture?

Here's a couple of mine:

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Make a tonal difference?


Honestly??? - not any I've noticed, although it sure does look pretty... I bought mine because I got a smokin' deal on a BFR 5 string HH that also had an ebony fretboard - they're not very common, AFAIK... I haven't regretted the purchase any - it plays and sounds great, and has gotten alot of compliments...


- georgestrings
 
Some of you good folks may have gotten the same email blast I got today.

Looks like Warmoth is now doing ROASTED MAPLE necks....

I am intrigued as I only play necks that are satin and LOVE the wenge neck on my Drake which has no finish at all.

So far, I am only seeing guitar necks, but I bet bass necks are on the way....

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Comment if you see fit....

BassHappy
 
Roasting is not recent, unless you consider a couple of centuries to be recent. There are other practices too that stabilized wood and produced spectacular results. Like burying the wood in manure. Or in sand at the seashore. Or soaking it with urine. Sinking it to the bottom of a river. Some of the treatments are unsavoury today. Most are too costly.