Tops are 95% cosmetic (especially on a neck through build). They can add to the overall sonic character by means of weight/density and how the combined components resonate with the string vibrations.
Pros: smaller/shorter instrument. They’re great for travel as they fit in an electric guitar sized gig bag. They work well if you find yourself on small, crowded stages (small clubs, coffee houses, orchestra pits, etc..). Sonically, they typically possess a more staccato attack which is great if you play anything percussive. They’re lighter and easier to wear on longer gigs.
Cons; the changing of strings can be a little tricky. They lack a little bit of the fullness and resonance you experience from a build with a headstock. On the 5 and 6 strings; the nut width is a bit wider than my usual spacing via a hand carved nut. This is due to the dimensions the hardware is made to accommodate.
One benefit of a thicker neck is a stiffer, more rigid/stable neck. Of course, this will only be the case if the woods used are properly aged & cured as well as constructed with proper grain orientation.
The lightest body woods I’ve used are Paulowina, Spanish Cedar, and the super light varieties of Swamp ash. They all work, but yield a softer overall attack. I’ve had my best tonal success (while keeping weight down) by using alder or hemlock. For fingerboards; the softest/lightest I’ll use is Indian Rosewood…..and that is rare. I gravitate towards more dense woods for fingerboards for both tone and functionality.
I use a three part mixture of teak oil, thinner and semi gloss poly. I use between 3 and 6 coats depending on the woods involved. Woods that are less dense or more open-pored tend to drink up a little more, requiring more coats.
Owners of instruments with this type of finish do not need to reapply this oil. For maintenance and cleaning, I recommend a product called Howard Feed & Wax. It’s great on the body, neck and fingerboard…..especially the fingerboard. Howard Feed & Wax can be applied either every 6 months or during string changes. You simply apply a small amount to a soft dry cloth, wipe it on, let it sit for a few minutes and wipe off the excess with another soft dry cloth.
definitely. Anything with a pickguard for sure. Anything with P or J pickups. Those take a ton of extra prep work and time to route. Extended range (7 strings or more) can be a chore. Set neck is also one of those things that I have to really be in the right head space for. As for woods; buckeye burl is one that ends up being very tedious to deal with. Last but not least; CA glue treatments on fretless fingerboards. I love the result, but the process knocks me out of commission for a few days.
Q: Why a pickguard?
A: they take a lot of time to make (especially the wooden ones). One tiny mistake and you have to start from scratch.
funny. To anyone wondering what the heck is going on here, it’s a long standing “funny ha ha” based off an email I received about endorsements. IYKYK.
In regards to endorsements;
I have a few artists who constantly bring value to my brand. They are doing it right! Looking downrange, I doubt I’ll be taking on any new artists unless things work out to where my company grows. For now, I’m proceeding with caution.
Prior to building, I was an endorser of Bee Basses. Fred Bolton (Bee basses owner/builder) had a friend making these preamps for his basses. His name is Dave McKeen. When I received my first Bee bass, I couldn’t believe my ears. It was like pulling the blanket off the cab! When I began building, Dave was one of the first people I called. We moved a few center frequencies around. The bass is centered at 40hz, mids at 560hz and treble at just under 7khz. The thing that sets this apart from other 3 bands is the musicality you will experience. Set flat, there is an overall 3db of gain which causes your signal to hit the amp with more clarity. It’s like a souped up version of what your bass sounds like passive. Each band has a full 18db worth of boost or cut. It is extremely powerful. Something I enjoy about this preamp is how the bass boost doesn’t get out of control. Things stay tight and focused. These are top shelf, hand made by Dave and in extremely limited supply.
I do monitor moisture levels. I buy from reliable sources (locally for 90% of it). When I buy the wood, it’s typically ready to go. I let it acclimate to my shop before doing anything to it. Any woods that are high in moisture sit and wait… sometimes years before I use them.
On a neck through build, the wings don’t have as much of a tonal contribution as a neck/body combo you’d experience from a bolt neck. The wings are more-so along for the ride. Some of the heavier/more dense woods can weigh in a bit tonally. Most of my builds are geared towards being lighter vs heavier. With neck through, the majority of the tonal influence comes from the neck woods and the fingerboard. The wings (especially if they’re on the lightweight side) serve more of a means of weight reduction, giving a more neutral tonal response. The wings are important to the overall full body resonance of the instrument. So; with that in mind, they are part of the sound of the instrument.