The interaction of neck and body resonance. Warning: tonewood content.

Lebarque

I believe that different types and cuts of wood make a difference to the tone of electric guitars and that the neck wood makes the biggest difference. If you don't, this isn't the thread for you!

When making partscasters, I like to tap the body and neck to ensure there is some resonance and sustain, and listen to the pitch. I'm after a 'bell-like' effect if you will. First question - I've heard it said that lower-pitched necks are the most desirable. Do we agree with this?

Accepting that's true, what's the best way to then select a matching body? Just go for a body with good sustain and ring, or is there merit in trying to match the pitch/frequency of the neck with the body?

Danielsguitars

A big rabbit hole to get lost in, I'll sit back and watch from my armchair

There are too many variables imo

WezV

Too many variables, but it doesn't hurt to start tapping bits of wood at various stages so you can get a feel for what does and doesn't work

Danielsguitars

The only way to really know is to build it imo

poopot

It’s an electric guitar not a xylophone!...

once the drummer starts smacking his cymbals it may as well be made out of papier-mâché!...

GoldenEraGuitars

poopot said:

It’s an electric guitar not a xylophone!...

once the drummer starts smacking his cymbals it may as well be made out of papier-mâché!...

Nothing kills that wooden ring on a lovely guitar body like adding 2lbs of plastic, metal and wiring

Lebarque

WezV said:

Too many variables, but it doesn't hurt to start tapping bits of wood at various stages so you can get a feel for what does and doesn't work

How do you guage what does / doesn't work? 

Lebarque

Danielsguitars said:

The only way to really know is to build it imo

Hmmm, maybe. But surely it's best to start with good ingredients?

WezV

Lebarque said:

WezV said:

Too many variables, but it doesn't hurt to start tapping bits of wood at various stages so you can get a feel for what does and doesn't work

How do you guage what does / doesn't work? 

By doing it and forming a preference 

I know what I prefer, I know how it has changed over the years and influenced the way I build in different ways.

ICBM

Based on personal experience, I believe that it makes a big difference, that about three-quarters of it is due to the neck, and that it's still audible even in a band mix through an overdriven amp.

If you believe otherwise that's fine.

I'm not sure there's any 'formula' for it, it can be quite random since it depends on the interaction of two pieces which have inherently different resonances.

FelineGuitars

Wood choice is an important factor definitely (and two pieces of the same wood can sound different too)

Along with scale length, fret size, hardware choices, and finish (to a degree)

These all play a part in the unplugged sound of a guitar

pickups, wiring and your signal path all come into play once you plug in

Lebarque

WezV said:

Lebarque said:

WezV said:

Too many variables, but it doesn't hurt to start tapping bits of wood at various stages so you can get a feel for what does and doesn't work

How do you guage what does / doesn't work? 

By doing it and forming a preference 

I know what I prefer, I know how it has changed over the years and influenced the way I build in different ways.

Is your preference a secret, or hard to explain?

Lebarque

ICBM said:

Based on personal experience, I believe that it makes a big difference, that about three-quarters of it is due to the neck, and that it's still audible even in a band mix through an overdriven amp.

If you believe otherwise that's fine.

I'm not sure there's any 'formula' for it, it can be quite random since it depends on the interaction of two pieces which have inherently different resonances.

Not worth trying to find two pieces which have similar resonances?

Lebarque

FelineGuitars said:

Wood choice is an important factor definitely (and two pieces of the same wood can sound different too)

Along with scale length, fret size, hardware choices, and finish (to a degree)

These all play a part in the unplugged sound of a guitar

pickups, wiring and your signal path all come into play once you plug in

When you put together bolt-on guitars, do you string up and try several different necks acoustically, to see which one matches the body best? Same question to @WezV ;

Lebarque

Is there anyone on here that builds acoustics who could chime in, do we know?

ICBM

Lebarque said:

Not worth trying to find two pieces which have similar resonances?

Trying, yes - succeeding might be difficult because you won't know for sure until it's paired with the other component you're going to use, since it's dependent on *both*, even though the neck is more important.

But this is apparently done at the Fender Custom Shop, and it does seem to be the case that they produce a much higher proportion of great guitars than you would otherwise expect.

Danielsguitars

Lebarque said:

Danielsguitars said:

The only way to really know is to build it imo

Hmmm, maybe. But surely it's best to start with good ingredients?

You can build with anything it's up to you what's good or not, too much internet talking and not enough building, experience is the best way to my mind

GoldenEraGuitars

Does anyone tap on their bodies and or necks after the hardware has been fitted? 

Lebarque

ICBM said:

Lebarque said:

Not worth trying to find two pieces which have similar resonances?

Trying, yes - succeeding might be difficult because you won't know for sure until it's paired with the other component you're going to use, since it's dependent on *both*, even though the neck is more important.

But this is apparently done at the Fender Custom Shop, and it does seem to be the case that they produce a much higher proportion of great guitars than you would otherwise expect.

So screw the neck to the body, then tap to see whether there is still resonance there? Makes sense I guess.

Lebarque

No opinions on the pitch of the note when tapping?

WezV

From the acoustic builders point of view, after many years making builders start to develop their own voice irrespective of the wood they use.

This doesn't mean wood is less important, it means they have learnt to control it.  A less stiff top may be left thicker, or bracing tweaked so the sound is shaped as the wood is removed 


It's easier for electrics because it is frankly less important. ... but you still get  a feel for how shaping can affect the way parts resonate and amended as you go if needed... but as long as a piece isn't dead ( as in, lacking in resonance), it's probably going to be fine.