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I believe you are correct, sir.
On a similar note, unplugged, nothing I've ever owned sounds like my Ric. The prevalence of the sound is undeniable.
But they are liars participating in the great conspiracy to defraud all the players and musicians in general who cant hear anything without being told what to think!
About time Dan came along to expose this travesty, although believe it or not I think Jesse Ventura would have been a better choice.
yeah, unamplified qualities ALWAYS transfer to the speakers...
(may I have a number?... :hide: )
(may I have a number?... :hide: )
Well I'm convinced. If it's in an advertising campaign it must be true.
Got him to buy two Warwicks. They sound like wood, afterall...
Well I'm convinced. If it's in an advertising campaign it must be true.
Got him to buy two Warwicks. They sound like wood, afterall...
That wasn't the intention at all but your sarcasm is about par for your posts in this thread.
I'm sorry. I'll stop.
It's a nice day. I'm going out into my woods and listen to some nice ash and poplar.
It's a nice day. I'm going out into my woods and listen to some nice ash and poplar.
kenfxj said:Well I'm convinced. If it's in an advertising campaign it must be true.
Got him to buy two Warwicks. They sound like wood, afterall...
Right, because the ash and bubinga corvettes sound SO similar
Right, because the ash and bubinga corvettes sound SO similar
true! I owned both ash and bulbinga $$. They were both tonally different. same electronics same everything except wood
wood matters
..otherwise acrylic instruments would be more popular. And aluminum would be used on necks to save costs and weight.
There is significant differences between density, pore size, and grain pattern of similar tree species grown in the same geographic area. These properties effect the resonant frequency of the material. While the differences in tone may be too subtle to be noticably significant, the difference in sustain and attack is prominent.
..otherwise acrylic instruments would be more popular. And aluminum would be used on necks to save costs and weight.
There is significant differences between density, pore size, and grain pattern of similar tree species grown in the same geographic area. These properties effect the resonant frequency of the material. While the differences in tone may be too subtle to be noticably significant, the difference in sustain and attack is prominent.
Hey fellow Wood Matters club members, I'm thinking about doing a bit of a change up on the tone of one of my basses.
Do any of you have any experience with Bubinga as a neck wood?
I've always liked the look and feel of it but have never seen or played a neck made out of it. My Warwick with a Wenge/Wenge neck and Bubinga body sounds very unique and growly. But this neck will go on an ultralight swampash body.
Also, is it exceptionally heavier than a maple neck would be thus creating potential for neck dive?
Any thoughts or experience with this would be helpful.
Do any of you have any experience with Bubinga as a neck wood?
I've always liked the look and feel of it but have never seen or played a neck made out of it. My Warwick with a Wenge/Wenge neck and Bubinga body sounds very unique and growly. But this neck will go on an ultralight swampash body.
Also, is it exceptionally heavier than a maple neck would be thus creating potential for neck dive?
Any thoughts or experience with this would be helpful.
I've never experienced it in a guitar, but in a snare drum I owned it offered a really nicely rounded attack and girthy sound. Very cool.
Here's a Bubinga tidbit from another site:
Gotta love the Wick Pics. I have a thumb BO5 and love it. Was considering getting a Streamer but once I started digging into it I found the Streamer in lots of different wood and pickup configurations and no place local to try any of them out.
Any first hand Streamer run downs from the Club members to help us Wick fans better understand the different wood and pickup configurations and your opinions on what combos work particulary well for Classic and Grunge Rock, Jazz and Blues.
I've got a dangerous combination of spare time, full wallet and lots of gas. God help me....
The necks of my old Dingwall Afterburner II and Ibby SR505 were bubinga... incredible feeling. Smooth, fast, and added IMO a darker edge to the tones. No idea about a comparison vs. maple, but neither had neck dive, so I'm guessing not.
And since we're flashing pics of Wicks...
I have two Bubinga necks w/ Ebony fingerboards, one fretted one fretless. I've put them on several different bodies, one being a light swampash dinky J. The sound with that body is farily bright with a solid low end/fundemental.
However, the Bubinga and Ebony make for a rather heavy neck so balance may be an issue on a light body, even with light tuners.
Here's a picture of my fretless on a Koa body (more mids than on swamp ash):
Link Removed
