#31
|
|||
|
|||
And that point was??? I never said it was all pickups.
|
#32
|
||||
|
||||
Oops - sorry that I wasn't more clear. What I meant was, that you picked up immediately that there are significant construction differences between these two guitars. The fact that they have the same neck pickup is far from the only distinguishing feature. There are certainly different woods in the fretboards, possibly in the body, and there are certainly other mechanical differences which affect how the strings vibrate, and thus affect the signal presented to the pickup.
Yet, there are those (unlike you and I) who still believe that it's all in the pickups.
__________________
Martin 0-16NY Emerald Amicus Emerald X20 Cordoba Stage Some of my tunes: https://youtube.com/user/eatswodo |
#33
|
|||
|
|||
Taking an end around:
Playing unplugged, there is as much variety among electric guitars as acoustic. Scale length, neck joint, construction type and wood selection all play a role. *All* those factors can be diminished in impact by a wide variety of influences. Pickup gain (even more than type) is probably the single most dominant variable because of its impact on the electrical relationship between the guitar and amplifier downstream. But to say that any of them (including materials/wood questions) are non-existent, hype or snake oil is, I think, failing to appreciate the construction of the instrument as something other than a note conveyance. Michael |
#34
|
|||
|
|||
My bottom line theory is that we are talking about an ELECTRIC guitar! The electrical signal path is strings-pickups-pedal effects-amp. A lot of little factors add their own small contribution along the way, but the core is the electric signal path.
David, your point is well taken. |
#35
|
|||
|
|||
Quote:
Even a vast difference on a chambered vs. traditional weighted Les Paul...you'll hear & feel it. BradM
__________________
<{()}>< <{()}>< <{()}>< <{()}>< <{()}>< bradM - SW Ohio - love to pick! <{()}>< <{()}>< <{()}>< <{()}>< <{()}>< |
#36
|
|||
|
|||
Quote:
|
#37
|
|||
|
|||
Quote:
What he said.... |
#38
|
|||
|
|||
The body, too? Thought it was just the neck, just like SD Curlee and Kramer....
|
#39
|
|||
|
|||
Having played and made electrics with different woods, I say yes it DOES matter, to a point.
One can make a body out of basswood and it could be a bit dark sounding, and the same body out of maple can be very bright and punchy. Or basswood can be capped with maple. On electrics I prefer maple necks and fretboards because I feel it has a quicker attack, whereas a rosewood board would make the note swell. There are players who prefer basswood since it interacts well with bridge pickups which on harder woods can tend to be too bright. Steve Vai and Allan Holdsworth are two that play very fast and played basswood bodies early on (Charvel.) Van Halen's signature guitars from the 90's to today are prediminantly basswood with maple cap. Guys like George Lynch preferred solid maple bodies, they really do cut through and sustain. The Les Paul sound is very identifiable through the likes of Page, Slash, and others. After Van Halen popularized Strat-shaped guitars with bridge humbuckers, companies like Charvel, PRS, Hamer, Anderson, Schecter, Boogie Bodies, made Strat-shaped guitars using maple/mahogany construction to give the "sound" of a Les Paul in a smaller, more "comfortable" package. The easiest test would be to go to the local music store and try a PRS Custom 22 with a solid mahogany body, and one with a mape cap. The all mahogany is very noticeably darker than the maple capped guitar. There are some Teles with mahogany bodies; I have one such bidy and it's definitely warmer sounding in all pickup configurations compared to my ash Tele. Sure it's more subtle than an acoustic guitar, but it's there. |
#40
|
|||
|
|||
Quote:
__________________
Rodger Knox, PE 1917 Martin 0-28 1956 Gibson J-50 et al |
#41
|
|||
|
|||
Quote:
I will say now that I can hear a pretty big difference between my Les Paul and Hammer Californian clean.
__________________
Alvarez: DY61 Huss and Dalton: DS Crossroads, 00-SP Kenny Hill: Heritage, Performance Larrivee: CS09 Matt Thomas Limited Taylor: 314ce, 356e, Baritone 8 Timberline: T60HGc |
#42
|
|||
|
|||
Quote:
|
#43
|
|||
|
|||
I'm of the opinion that electric guitar wood is a very minor part of the sound compared to the electrical components. Les Pauls and Stratocasters are frequently compared. The Fender's pickups are suspended in a sheet of plastic above a routed body. They are "floating" above the wood. Why are there no discussions about the effect of the pick guard material on tone? Mellow jazzy 335s? Ah the smokey sultry tone of plywood.
|
#44
|
||||
|
||||
I wonder if an electric guitar wood combination can be overcome and made to sound differently, that meaning differently as if it had different woods, by simply changing the pickups?
I've had 3 Strats at the same time, all with bodies of different words, but the same pickups. They did sound differently from one another, just slightly to my ears, but definitely different from one another. I believe wood matters.
__________________
|
#45
|
|||
|
|||
Quote:
(& LMAO - "Ah, the smokey sultry tone of plywood" ROLF- nice one) |