It's is somewhat salmon-esque. Why don't they have one is Surf or Seafoam Green, for heaven's sake?
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But I think this misses the point since the claim isn't that the wood amplifies anything. The wood doesn't have to amplify in order to have an effect on tone. All it has to do is passively reflect and absorb energy in frequency-dependent ways, which is precisely what it does. The strings, the wood, the pickups -- they're all part of a resonant system and they all have an effect. Granted the wood doesn't play as big a role in an electric instrument as it does in an acoustic one, but it's going a step too far to say it plays no role.
Just like a muffler on a car - it will not add anything to the amplitude of the tones or notes.
It might MAYBE only attenuate one set or range of tones and perhaps leave other ones alone and NOT attenuate them as much - but that only makes the lesser attenuated note sound more powerful.
If you had a chorus of voices and stuffed rags in the mouth of a few bad singers, then the rest of the chorus may very well sound clearer or louder when the other singers aren't competing with the sounds you want - by overpowering the good singers with their singing, as a rather arcane example.
1) If sound (energy) goes into the wood - it is NOT improved by any process of amplification without energy being expended.
The originating energy comes from the vibrating strings. Simple.
2) Any energy that escapes this Acoustic Black Hole is also diminished since it takes energy to traverse the wood in the body - and that means lowered amplitude too.
2a)Since this energy ultimately came from the strings, then the notes they are producing are diminished in amplitude and they tend to 'go away' or fade.
2b) Energy IN = Energy OUT, Minus Losses From Resistance - in this case from exciting the wood's internal molecules.
3) If sound goes into the wood - it loses energy by the process of conduction to the next molecule and needs to set it in motion to let that note continue to the next molecule - and that goes on throughout the body, all the time losing power (amplitude) until eventually the note dies in transit or finally escapes, albeit very weak from the experience. 2b) Energy IN = Energy OUT, Minus Losses From Resistance - in this case from exciting the wood's internal molecules.
This is what 'tone woods' do. They diminish or eliminate certain tones/notes until they are either internally consumed and MIA in the wood and don't ultimately reach the ears.
Yep, wood affects tone by absorbing and reflecting energy differently at different frequencies.
The horn is a transducer, not an amplifier. It converts the mechanical energy of the vibrating needle into acoustical energy, but energy is lost in the process. Amplification requires an active device that adds energy to the signal from an outside source. The horn doesn't do that.
Yeah, I know, that's nitpicky and technical, but there you have it.
Mine too. That and make either the pickup housing or the pickguard cream in color and I'm over the moon.I'd just HAVE to buy another if they did that.My fav pastel colors.
Actually, I must disagree. The needle and diaphragm are the transducer. Take the horn off of the "tonearm" assembly, and you will still get sound, but much quieter.
Okay, I can buy that. I was looking at the entire needle/diaphragm/horn as a single thing but you can go a level deeper and divide them into transducer and acoustical impedance matcher. But at the end of the day, they work together to convert the mechanical energy of the needle into acoustical energy, and it's a lossy passive conversion and therefore not amplification.
The horn is roughly analogous to a speaker cone. You can take the cone off a speaker and you'll hear a quiet sound. But that doesn't make the speaker, or the cone, an amplifier.
I have to tell you, I can't believe I like the Fiesta Red bass that I have. It's definitely not what I would ever usually choose for a color, but when I saw the Fiesta Red CV in a store with the rosewood fingerboard and tort pickguard I couldn't believe that I actually liked the look so much. There is something about it that I (quite surprisingly) find very attractive. Once I picked it up to play it I knew I would own one. I did have to go to a few stores to find the right one (rattling tuners seemed to plague a few), but I'm very glad I did.
FWIW, I thought about buying the Sonic Blue one, but the color just did nothing for me. Funny how that works with us - some like one, some like the other, it's all good.
yeah, im sure i will like it. Im not adverse to red basses, its just from the pics ive seen so far it does look a bit bright.
Still, its the playability thats important and it looks like that's not going to be a problem.
Im hoping to order one soon, and do plan on putting my CVJ neck on it if i cant get on with the wider neck but im looking forward to giving it a go.
Ive not played a P with vintage frets before, although i had a Lakland DD that had banjo frets. I much prefer smaller frets so maybe i will get on with the CVP neck.
When my CVJ arrived that had a rattling tuner but after a bit of super glue on the shaft its been fine.
LOL, the rattling was coming from the join where the clover shaped plate (sorry, dont know whats its called) is supposed to be welded on to the shaft.
You couldn't see a gap but down one side it was loose and so vibrating against the shaft when the bass was played.
It was very loud acoustically but wasnt coming through the amp.
I used a tiny amount of super glue along the seam and so far (3 months later) its still holding.
I just remembered someone else having this problem as well.
This is from earlier on in the thread.
http://www.talkbass.com/forum/showpost.php?p=9425490&postcount=528
I would say the in the above case the horn size and compositon would afffect the tone of the sound coming out wich would be analogous to an acoustic guitar. But the composition of the body of the record player would not make any noticible difference to the sound heard...which makes my point. The wood types are good for aestetics, or build quality (durability) but to tell me that anyone could tell the difference between electric basses set up identically except for the body wood is silly.
You really have to go even deeper into the energy flow to understand the process involved with this old form of record player.
Anything that you can hear/feel/see, etc, has to be the product of a flow of some sort of energy - even the quiet sounds of an unamplified, yet harmonically responsive device require energy to set air molecules in motion - which is then perceived as sound or music, etc. . .
The above represents the conversion of energy from one form to another.
But from where does the originating energy come if it's not the needle or the radiating cone to open and disperse the sound from it's crude system?
It's from the stored (potential) energy in the wound-up spring in the turntable causes the record to turn (an expansion of kinetic energy, or potential energy converted into (work) motion)......
...........and the needle while following the groove on the face of the record is set into motion (more energy flow)......
...........and it in turn vibrates the diaphragm in the horn (another energy-conversion factored in).....
...........and that in turn alternately compresses/rarefies the air column, setting it in motion (more energy used) as it then travels up and out the expanding cone of the horn......
.......... until it strikes your tympanic membrane (ear drum) and is rendered into electrical/neural impulses (ANOTHER energy conversion)......
...........and is decoded by your brain as sound.
So - again for simplification - Where does the energy flow start? At the arm/hand that wound up the spring inside the record player.
Then - deeper into the energy flow we get to what you ate for breakfast that allowed you to turn the wind-up handle and the wheat in your Wheaties that yielded it's energy to your digestive system from IT'S energy source --- (get ready for this part) THE SUN!!
Just for consideration though:: Heat and vibrations (as sound as conducted through a physical entity) conduction is not considered to be a form of work, since the energy is transferred into atomic vibration rather than a macroscopic displacement.
Could you all please take the "wood does/doesn't affect tone" debate to one of the many threads about it? This is supposed to be the Classic Vibe club thread!
/hijacking over
/hijacking over
Yes, pretty please?
There are tons of threads about this very thing. We don't need to clutter this one up with it.
Yes...like here
http://www.mimf.com/
you can debate it there to your heart's content and get input from some of the most experienced and gifted luthiers you'll ever want to know.
The Luthier's forum here would also be a good bet.
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