#31
|
|||
|
|||
There are many more knowledgeable than I who have posted above, but if I may just add, I like ebony best because, to me, it seems to have the 'bounce' and slickness when playing like a maple board does on a strat. Of my guitars, it is the rosewood board guitars which get played least. Just a personal preference for the feel, colour, durability and 'coolness' of ebony.
I smiled at the banjo gag. |
#32
|
|||
|
|||
Quote:
In contrast to what has been reported, I have heard a difference in sound when changing fretboard woods. It is subtle, but I hear a warmer, less sustaining sound with rosewood. I believe that the sound difference is mainly due to a difference in hardness, rather than damping. That is because the fingerboard is frequently glued to a much softer wood like mahogany. |
#33
|
|||
|
|||
Forgot to mention that on my Taylor 714ce the ebony board has rosewood binding. Its so sweeeeeeet.
|
#34
|
|||
|
|||
I find the ebony to be harder and smoother with with less pores and doesn't seem as dry as rosewood and consider it to be superior for me.
I don't get why it's widely used on electrics other than tradition. |
#35
|
||||
|
||||
The fretboard material for my two guitars was selected by the builders, for aesthetics and probably to some degree for tonal considerations. The ebony board looks 'right' on its guitar, and the rosewood board looks 'right' on its guitar. Each guitar is a total package, for aesthetics and tone, and I let the builders make these choices because I realize my limitations in knowledge and talent.
I don't notice any difference in touch/feel of the different material, and I'll never know what it would sound like if the board material was changed; I won't be doing that. If the rosewood one is worn down in 30 years I won't care about that either; it would be a nice problem to have because that would mean I'm still playing in my 80s.
__________________
Chuck 2012 Carruth 12-fret 000 in Pernambuco and Adi 2010 Poling Sierra in Cuban Mahogany and Lutz 2015 Posch 13-fret 00 in Indian Rosewood and Adi |
#36
|
|||
|
|||
Quote:
|
#37
|
|||
|
|||
Quote:
I have guitars with both ebony and rosewood fretboards and the differences I perceive in the guitars are dominated by features other than the fretboard. Regarding longevity, I have to agree with other posts that I won't be around long enough to worry about it! |
#38
|
||||
|
||||
I'm glad I made the decision to go with Cocobolo on my Mustapick. It looks amazing! I have no idea how it affects the sound. Matt thought it would sound and look good, so I went for it. I think it looks and feels fantastic.
__________________
Circa OM-30/34 (Adi/Mad) | 000-12 (Ger/Maple) | OM-28 (Adi/Brz) | OM-18/21 (Adi/Hog) | OM-42 (Adi/Braz) Fairbanks SJ (Adi/Hog) | Schoenberg/Klepper 000-12c (Adi/Hog) | LeGeyt CLM (Swiss/Amzn) | LeGeyt CLM (Carp/Koa) Brondel A-2 (Carp/Mad) |
#39
|
|||
|
|||
My ears (who sometimes have a mind of their own) like the dampening of Ebony when paired with Rosewood type (low dampening) back and sides. The tone can get........ kinda brash with a "lively" fingerboard and "lively" back and sides. Of course this is a subtle difference. I have experimented with 4 different fingerboards each or 2 different guitars. I also hear a little extra "zing" when using a low dampening fingerboard with Mahogany type (higher dampening) back and sides. I rarely use Ebony bridges. With Ebony fingerboards I either dye Indian or Brazilian Rosewood black, or use jet black African Blackwood for the bridge. I'm just starting this custom build with an Adi top, Honduras Mahogany back and side and Honduran Rosewood fingerboard and bridge. Honduran Rosewood, (like African Blackwood) is really dense/heavy, but has really low dampening. IMHO if you want something that's "different" Honduran Rosewood makes excellent fingerboards.
__________________
woody b politically incorrect since 1964 |
#40
|
|||
|
|||
Quote:
I think in the early days (the first "Golden Era?") ebony was seen as a premium wood. Also increased stiffness for necks I think? Traditionally now a lot of the upline stuff comes with ebony just out of habit, trussrods take care of the rest of the world's necks. It never bothered me that my AJ was rosewood board, certainly. I handled a Les Paul in a store once with an ebony fretboard that wasn't finished right or something: it felt like 600 grit wetRdry! Every other ebony fretboard I've experienced was noticeably smooth. 'Course, so was the lacquered rosewood on a couple of Rickenbackers I had. I always thought it was a nice bonus to get ebony on even lower end Larrivees. I can feel the rosewood on my Guild D40 as being not quite as slick as ebony would be, but it doesn't bother me much. If my fingers get to the right fret on time, the rosewood can be counted upon to do its job of holding the frets in place just fine. Last edited by backliner; 08-19-2010 at 07:03 PM. |
#41
|
|||
|
|||
'Damped' and 'dampened' are used interchangably in acoustics and vibratory mechanics. I prefer 'damped' as it has fewer alternative meanings (as did my Vibration and Aeroelasticity prof), but 'dampened' is acceptable. FWIW, I use Macasser in lieu of Madagascar and Gabon when the customer does not take issue...a little lower density and i like the response.
|
#42
|
|||
|
|||
Quote:
Jim McCarthy |
#43
|
|||
|
|||
I sort of identify Martin with ebony and Gibson with rosewood.
I think both woods do a fab job at looking and sounding great and that fretboard and bridge material make a marginal difference in tone. Gibson you don't want it and Martin got too much (tone that is) so its a total cosmetic and tradition for me. Harmonics101 |
#44
|
|||
|
|||
Quote:
|
#45
|
||||
|
||||
The Martin OM 21 has a Rosewood Fretboard and sounds and plays great IMHO...
__________________
Jeff It's the Music That Really Matters! |