Cuzzie

Andy - I have some stuff which may or may not fit the bill both amp and preamp - I’ll drop you a line and you can test it. Hope you are well

I have absolutely decided I love a P bass, and Geddy’s book is also a nice bit of porn. I’ve popped together some P themed basses that I love. I don’t own one and my birth year was in the stinky poo Fender boat anchor years. I did have a quick play on a vintage one, but I was too early in my bass journey to appreciate it, and furthest I can go back with any assuredness on the feel is the JV 83 P bass - 1 was ok, 1 was very very good, but for the guys who own a vintage one can you describe what it is about them compared to a really good modern one? Cheers

It’s great fun that’s for sure - I may have to have a go again

Quality company - that’s how it should be done

It’s based on my buxom womanly hips

Do it - they do make good bodies indeed!

I’ll try to get it done by the SW bass bash and if it’s any good bring it so long as folk don’t expect a polished instrument and a few bits rough around the edges, I’m no @Jabba_the_gut yet. Hoping for a solid player

No need to sell just yet, I was taking mainly electric ones, and yes it’s a vast generalisation l, but if I am correct Strads often use willow bracing and and maple for the back (hardwoods), and a spruce top which is a softwood but differs from others with the resin and how it’s channels seal off after it has been felled, so is drifting towards hardwood in its cellular behaviour. Happy to be wrong though

The point about many parts of a bass was never in doubt-the question on fretboard material is about if all other things were the same - would it make a difference? Classical instruments will vary from violin through to double bass - of course they will sound different - even amongst the same class it would depend on the body wood, and how it has matured also regardless of them all being ebony, all mainly ebony, but most people seem to accept an in acoustic instrument, the rest of the wood makes a difference. I’ve posted but 2 articles, there will be more if you search and are interested, there won’t be a perfect study, there rarely is, it just depends on your tolerance as to what is acceptable

Nope - I know and respect where you stand - I was doing a more broad brush talking points thing

That’s ok - I didn’t for ages - it’s all about pores and cellular make up - it’s essentially why hardwoods are better than soft woods for instruments FYI https://www.wood-database.com/wood-finder/

I don’t disagree with comments here, but technically Balsa is a hardwood.......

Thanks for taking the time to have a gander - I am by no means staying this is the gold standard, cast iron best research out there, but it was more to illustrate the point made before that there will be research out there, I take on board the sample size debate. The quality of the journals, impact rating etc. If I did a massive deep dive I could potentially weed things out, but from a scientific background and the potential integrity of researchers, addressing short comings as opposed to glossing over Them is a good thing. There is some work out of the University of Lancaster Looking at backs of acoustic guitars, in particular Brazilian Rosewood as that is endangered and I suppose whether we need to use it and what difference there is. The thermal treatment paper is looking at work out of Finland and also there is work in Germany, but that may not have English translation, but it doesn’t mean it’s not good. If all studies no matter what the quality and sample size point to some difference in the woods, then as a trend that is surely the case? As a general point of course. I suppose the point is, there will be scientific work out there, it depends entirely on how fervently you disagree and want to solidify your point there is no difference. This will lead to a search for evidence to evaluate. But there are questions here which should not be mixed up. Is there a difference? Is it perceivable? How can the differences be used to our advantage? Does it make a difference and in what setting? If any of those bring a yes - then there is a difference, being pedantic or not, there just is, and it can be applied in or across species

And if any naysayers care about thermo treatment of tonewoods and what it achieves, and also for the believers and interested Thermally-Aged-Tonewood-2020.pdf

FingerboardAndTheSoundOfTheElectricGuitar_PateLeCarrouFabre.pdf

I’ve always liked the Aggie version with an OBP pre amp whenever I have heard it

Decided to do a build with parts I have hanging around to clear the decks. I had a block of Black Limba and a P bass Lyte neck - beautiful feeling thing it is. Mocked up my own shape with obvious influences, and did all the carving via hand with my Japanese pull saws, spoke shaves, Chisels and a Shinto saw. The rounding off was with a router as is the neck pocket, I did a heap of sanding via hand, but I did weaken and use an orbital sander and an oscillating one to finish off. The current state is with tinted grain filler from Rothko Frost (great company) and I will Tru-oil finish it (it’s actually gun oil) I do like a gnarly bit of wood look

It is probably easily do-able - most wood blocks either glued together or 1 piece for a body are between 42-50mm thick and there is always wastage. There will be something for fretboard labels as well so a custom size could be reached

How would you design the experiment, and what sample size would be required to make it statistically significant?

He makes a good point - can you get the Stu amp please - I’d like to know about it

The Devil’s place. My current status is to set not just a maximum spend limit but a stupid price on items of interest, so ludicrous 99.9% of people would never sell at that price. If you then find they do - you can not argue against a bargain

Wet fish for you as well then

Don’t do it - if you do I may personally come and find you and slap you silly with a wet fish