sâmbătă, 26 martie 2011
Guitar Neck (Woods)
Maple:
The most common electric guitar neck wood, Maple has a uniform grain, it’s strong and stable, and it has less reaction from environmental changes than other hardwoods. Its tone is highly reflective, and focuses more energy onto the body wood. All things being equal, bolt-on Maple necks are less of a factor on the guitar’s tone and emphasize the body wood.
Mahogany:
The even density makes stable necks, and the open pores make the neck a little more responsive than a maple neck. The Mahogany will absorb a little more of the string vibration than Maple will, and compresses the attack and the highs a little.
Koa:
The tone is somewhere between Mahogany and Maple with a little sweeter top end.
Rosewood:
Heavy, oily wood, a Rosewood neck will produce excellent sustain while also smoothening out the highs. Generally with greater sustain comes a brighter top end. This is not true of Rosewood. It mutes the high frequency overtones, producing a strong fundamental that still has the complexities of mid and low mid overtones.
Wenge:
Stiff, strong, and stable, Wenge trims some high overtones like Rosewood does, while resonating more fundamental mids and low mids due to it’s multi-density “stripes” combing away a little more of the mid and low mid overtones.
Fretboard Woods:
Perhaps more significant than neck wood, the fretboard is the place your string launches from. It is the “bridge” on the other side. Fretboard differences are as dramatic as those between a hardtail and a tremolo.
Maple:
Very bright and dense, Maple is highly reflective. When used on a fretboard, Maple encourages tremendous amounts of higher overtones and its tight, almost filtered away bass favors harmonics and variations in pick attack.
Rosewood:
The most common fretboard, Rosewood is naturally oily, and works well for any surface that sees frequent human contact. The sound is richer in fundamental than Maple because the stray overtones are absorbed into the oily pores
Ebony:
Ebony has a snappy, crisp attack with the density of Maple, but with more brittle grains, oilier pores, and a stronger fundamental tone than Maple. It has a tremendous amount of percussive overtones in the pick attack, that mute out shortly thereafter to foster great, long, sustain.
Pao Ferro:
Quite simply, Pao Ferro is a wood that falls between Rosewood and Ebony, and the tone follows suit. It has a snappier attack than rosewood, with good sustain, and its warmer sounding than Ebony. Some consider Pao Ferro to represent their favorite aspects of the two.
Extended Range notes:
Basswood is not stiff enough for a tight, well-defined low end, especially with a shorter scale. Low notes will have good harmonics, and a good fundamental, but a midrangey tone overall.
Alder has a tighter low end than Basswood, with slightly deeper lows.
Swamp Ash is stiff enough for a crisp low end without becoming muddy. The open pores help resonate low tones. Higher overtones become more apparent in lower registers, for good harmonic content and a sharper attack.
Mahogany’s warm lows and a thick sound overall make extended lows very full and can produce muddiness in the signal. The low notes are very strong and sometimes overbearing for a pickup. A bright, crisp active pickup that thins out the low end could be a good combination.
Walnut’s tight low end and combed midrange dynamics make it well suited for extended range. It won’t get muddy unless it’s a poor specimen with softer yellowish orange areas.
Like Walnut, Koa is a good Mahogany alternative. It will have a tighter low end with less muddiness. The slightly dampened higher overtones will produce a stronger fundamental than Walnut at the expense of a sharper attack.
Korina should respond to extended lows in the same manner as Mahogany. Soft Maple’s dull lows also mean no muddiness in the extended range. It can be a good alternative to Basswood if that’s your main concern. The pickups will have to compensate for the bright upper mids.
Hard Maple will have the tightest lows for the extended range. Low notes will have a sharp attack, plenty of harmonics, and excellent sustain.
Spruce, while capable of reproducing extended lows, is too soft not to get mushy. A neck through, a laminated top, or both would provide the needed rigidity while still highlighting the good points of Spruce. Any laminated top 1/8” or thicker will improve the tightness of the low end. The existence of the lamination will tighten any body’s muddiness. The same qualities hold true in the laminate top descriptions.
Neck Through notes:
The neck through construction method produces excellent sustain. The neck wood strongly influences the tone of the guitar, because it occupies perhaps the most important part of the body: the center. There is a nasal, thinner quality to the sound, often augmented with a figured wood top. Your side woods make up far less of the tone than on a bolt on or set neck guitar. You first have to estimate what that neck wood’s tone is like as a body wood, and then accentuate or counteract that with your side woods. So a Hard Maple neck through will be very bright and cutting. If you want to warm it up you’d use Basswood or Spruce sides. But if you like that quality, you might use Ash or Soft Maple sides. The effect is very different than the laminated top sound. A maple top on Basswood is nothing like a Maple neck through with Basswood wings, which sounds more like a Maple body. Generally, the softer woods excel as sides because they add back some low end resonance missing in the construction method, while dampening the highs.
vineri, 25 martie 2011
Guitar Neck (Frets)
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DUNLOP 6105 - tall .055" wide .090" (extra high jumbo)
2,99mm 2,29mm
The 6105 series is a tall and narrow jumbo wire for players that want more exact intonation.
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DUNLOP 6130 - tall .036" wide .106" (jumbo for Les Paul Guitars)
2,77mm 2,69mm
The 6130 series is commonly referred to as medium jumbo. This is a perfect size for most vintage Gibson® guitars.
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DUNLOP 6230 - tall .043" wide .078" (Vintage Strats and Tele)
2,47mm 2,03mm
The 6230 series is a vintage-sized wire as used on early Fender® models.
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DUNLOP 6100 - tall .055" wide .110" (for Fender Guitars)
3,18mm 2,79mm
The 6100 series is jumbo fret that is both tall and wide.
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DUNLOP 6110 - tall .050" wide .115" (jumbo fret for rock'n'roll and bass and lead guitar)
2,64mm 2,92mm
The 6110 series is both tall and wide, and has maximum mass for easy bending and a scalloped feel.
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DUNLOP 6000 - tall .058" wide .118" (jumbo for extreme stringbending)
3,25mm 2,99mm
The 6000 series is the largest wire Dunlop offers. Both tall and wide, has maximum mass for easy bending and a scalloped feel.
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DUNLOP 6150 - tall .042" wide .102"
The 6150 series is a classic jumbo with extra width.
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Guitar Neck (Nut Width)
Nut Width is definately a significant factor in determining how a neck will feel. You can choose from our various sizes for a Nut Width that fits you perfectly!
1-5/8" (41.27mm)
This is the smallest nut width and considered "Vintage" since most of the guitar makers in the 1950s and 60s used this size. Smaller hands will find this very comfortable as do players who mostly play rhythm.
1-11/16" (42.85mm)
Considered the standard size of the guitar industry for the last 30+ years, 1 11/16 Nut Width allows for what many consider to be the perfect balance between chording and soloing. This is the most popular Nut Width size.
1-3/4" (44.45mm)
For those with slightly larger hands or soloing techniques when a slightly wider string spacing is desirable, this is just the ticket! Some 80s shredder guitar companies used this size along with large frets to create a unique soloing feel. It also may remind you of how an acoustic guitar neck would feel.
1-7/8" (47.62mm) Special Superwide Neck Page
This would be the Grand Daddy of Nut Widths. Giant hands will love this size as would people doing specialized guitar building and adding more strings to the neck. Click on the link above for special information and pricing for this unique offering.
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According to Duchossoir's Tele "bible" there are 4 different widths:
A = 1 1/2" (1.500") i.e. narrow
B = 1 5/8" (1.625") i.e. standard
C = 1 3/4" (1.750") i.e. wide
D = 1 7/8" (1.875") i.e. extra wide
"B" has always been the standard, but in the 60's the other widths were optional at an extra cost. They are nevertheless very rare.
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11 divided by 16 = .6875.
1 11/16 = 1.6875
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Guitar Neck (Fingerboard Radius)
What is fretboard radius?
Fretboard radius is simply the curve of the fretboard from side to side. This curve is to make the fretboard more comfortable for the fretting hand. The radius is described as a measurement such as 7.25", 9.5", 12" or 16". These measurements tell you that the fretboard is a segment of a circle or cylinder, which has a radius, or size of 7.25", 9.5", 12" or 16". The larger the radius, the larger the circle, and the flatter the fretboard will be.
In simple terms
Quite simply, the smaller radius (which is more curved) is more comfortable for playing (particularly barre) chords, while a larger, flatter radius is better for low action, single-note playing and bending. The other important characteristic of radius is that the flatter the radius, the lower the action can be. This is because when you bend a string on a lower part of the fretboard such as your first or second string, you are bending it towards the middle of the fretboard, which is higher than the edges, so the notes will tend to "fret out" - buzz against the higher parts of the fret, killing sustain.
Another important thing to note is that staggered polepiece pickups (like vintage style single-coils) were originally designed for vintage Fender guitars, which had a small 7.25" radius. These sometimes don't work well with flatter radii, making the middle strings jump out much louder, particularly the G string (which was also designed for wound strings). There is a workaround for this problem, which is to keep the pickups set lower (further away from the strings), where the string-to-string balance will even out. The downside to this workaround, is that you lose volume with the pickups set lower. You should also be aware that there are "modern vintage" pickups, which also have staggered polepieces.
Which fretboard radius is best?
Which radius is "best" tends to be a personal thing, you should be asking "which is best for me?". Generally, most players are going to prefer something between a 9.5" and a 12". Many players who play more "lead-based" styles, or those needing lower action and more bending will probably be happier with larger radii such as 16" or even 20". Ultimately this is down to personal preference, which is largely based on the instruments we learned to play on. The best thing you can do is play as many different guitars as possible (like we need an excuse, right?), making note of which feel more comfortable to you. Bear in mind that other factors such as neck thickness, fretboard thickness, scale length and even finish do affect the feel of a neck, but the more time you spend playing different instruments, the easier it will be to identify each factor.
The fingerboard, or playing surface of the guitar neck, is usually curved or radiused across its width. The purpose of this radius is to accommodate the natural ergonomic shape of your fingers when they are in playing position. Comfort is certainly a major factor in selecting a fingerboard radius but it is not the only factor. Musical Style... the fingerboard radius must also allow you to play the style of music you prefer.
Compound Radius Fingerboard
(A Warmoth innovation)
This is a concept that we introduced nearly two decades ago to improve both comfort and playability. It has proven to be a very popular feature that we have incorporated into the majority of our necks.
Everyone knows how comfortable vintage Fender necks are for rhythm work and chording, but without uncomfortably high action, string bending is not an option the strings "fret-out".
To achieve low action and no buzz string bending, many necks resort to a 16" fingerboard radius. This certainly works, but the comfort factor is lost.
What we developed was the theory and technology to make the fretboard conical. This retains a tighter radius in the area commonly used for rhythm and chording, while flattening the area used for bending and lead playing. We selected a 10" radius at the nut for both comfort and compatibility with the popular Floyd Rose locking nut. A 16" radius at the heel has proven to afford 2-1/2 step bends with action below a 16th of an inch!
In usage, the changing radius is not really noticed. It is simply easier to play on and more comfortable. Compared to a conventional single radius neck, the compound radius is far more difficult and time consuming to produce. So, why do we do it? This is a design that will make a genuine difference in your playing. An improvement in your playing speed... Its fast! String bending has never been easier, and comfortable. And of course your playing will be better if your hand is more relaxed.
One final note about the compound radius
There is no practical difference in accomplishing a fret level, nut cut, set-up or any other adjustment to a compound radius neck. They are as easy to work with as any other neck.
Custom Straight Radius
Straight radius necks have been the industry standard since the inception of guitars and are still used by the majority of manufacturers; primarily because it is much easier to produce than the much more comfortable compound radius necks. For those of who prefer straight radius, we have a custom machine which is adjustable to any straight radius between 9" and 16", in half inch increments. We can offer this custom work on our Warmoth "Pro" and Vintage Modern construction necks, in either 25 1/2" or 24 3/4" scale lengths.
(Article taken from Warmoth.com)
Fretboard radius is simply the curve of the fretboard from side to side. This curve is to make the fretboard more comfortable for the fretting hand. The radius is described as a measurement such as 7.25", 9.5", 12" or 16". These measurements tell you that the fretboard is a segment of a circle or cylinder, which has a radius, or size of 7.25", 9.5", 12" or 16". The larger the radius, the larger the circle, and the flatter the fretboard will be.
In simple terms
Quite simply, the smaller radius (which is more curved) is more comfortable for playing (particularly barre) chords, while a larger, flatter radius is better for low action, single-note playing and bending. The other important characteristic of radius is that the flatter the radius, the lower the action can be. This is because when you bend a string on a lower part of the fretboard such as your first or second string, you are bending it towards the middle of the fretboard, which is higher than the edges, so the notes will tend to "fret out" - buzz against the higher parts of the fret, killing sustain.
Another important thing to note is that staggered polepiece pickups (like vintage style single-coils) were originally designed for vintage Fender guitars, which had a small 7.25" radius. These sometimes don't work well with flatter radii, making the middle strings jump out much louder, particularly the G string (which was also designed for wound strings). There is a workaround for this problem, which is to keep the pickups set lower (further away from the strings), where the string-to-string balance will even out. The downside to this workaround, is that you lose volume with the pickups set lower. You should also be aware that there are "modern vintage" pickups, which also have staggered polepieces.
Which fretboard radius is best?
Which radius is "best" tends to be a personal thing, you should be asking "which is best for me?". Generally, most players are going to prefer something between a 9.5" and a 12". Many players who play more "lead-based" styles, or those needing lower action and more bending will probably be happier with larger radii such as 16" or even 20". Ultimately this is down to personal preference, which is largely based on the instruments we learned to play on. The best thing you can do is play as many different guitars as possible (like we need an excuse, right?), making note of which feel more comfortable to you. Bear in mind that other factors such as neck thickness, fretboard thickness, scale length and even finish do affect the feel of a neck, but the more time you spend playing different instruments, the easier it will be to identify each factor.
The fingerboard, or playing surface of the guitar neck, is usually curved or radiused across its width. The purpose of this radius is to accommodate the natural ergonomic shape of your fingers when they are in playing position. Comfort is certainly a major factor in selecting a fingerboard radius but it is not the only factor. Musical Style... the fingerboard radius must also allow you to play the style of music you prefer.
Compound Radius Fingerboard
(A Warmoth innovation)
This is a concept that we introduced nearly two decades ago to improve both comfort and playability. It has proven to be a very popular feature that we have incorporated into the majority of our necks.
Everyone knows how comfortable vintage Fender necks are for rhythm work and chording, but without uncomfortably high action, string bending is not an option the strings "fret-out".
To achieve low action and no buzz string bending, many necks resort to a 16" fingerboard radius. This certainly works, but the comfort factor is lost.
What we developed was the theory and technology to make the fretboard conical. This retains a tighter radius in the area commonly used for rhythm and chording, while flattening the area used for bending and lead playing. We selected a 10" radius at the nut for both comfort and compatibility with the popular Floyd Rose locking nut. A 16" radius at the heel has proven to afford 2-1/2 step bends with action below a 16th of an inch!
In usage, the changing radius is not really noticed. It is simply easier to play on and more comfortable. Compared to a conventional single radius neck, the compound radius is far more difficult and time consuming to produce. So, why do we do it? This is a design that will make a genuine difference in your playing. An improvement in your playing speed... Its fast! String bending has never been easier, and comfortable. And of course your playing will be better if your hand is more relaxed.
One final note about the compound radius
There is no practical difference in accomplishing a fret level, nut cut, set-up or any other adjustment to a compound radius neck. They are as easy to work with as any other neck.
Custom Straight Radius
Straight radius necks have been the industry standard since the inception of guitars and are still used by the majority of manufacturers; primarily because it is much easier to produce than the much more comfortable compound radius necks. For those of who prefer straight radius, we have a custom machine which is adjustable to any straight radius between 9" and 16", in half inch increments. We can offer this custom work on our Warmoth "Pro" and Vintage Modern construction necks, in either 25 1/2" or 24 3/4" scale lengths.
(Article taken from Warmoth.com)
joi, 24 martie 2011
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