Anyone familiar with Pao Ferro as a fingerboard wood? I've never tried it but there is a bass available locally that has it and I'm curious as to the truth about it being sort of in the middle of rosewood (what my current fretless is) and ebony.
Also,
Would a bubinga body and walnut neck (neckthru) be too bright in tone? I know both woods on paper are supposed to have good sound across the board. Good lows, mids, highs and decent sustain. I'm curious if that brightness is too much or if it'll still have some decent low end and mids for growl.
tone wood question
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FretLessSince68
- Posts: 307
- Joined: Tue Dec 19, 2006 2:29 am
- Location: On an Island, WA, USA
I had hoped that someone else would speak-up with personal experience on this question. I have to say that I have never owned a bass with Pao Ferro fingerboard, so can't answer the question.
What I can say is that Ebony is fabulous for fretless fingerboards, and Rosewood is good, so something in between the two ought to be very good.
Re: Bubinga body and walnut neck (neckthru) on a fretless.
This may be great, it may be terrible. Tone woods is not a science, one bass will be exceptional, another will have dead notes or harsh characteristics. Your ears will tell you if it sounds the way you desire a fretless bass to sound.
My personal opinion this particular combination is:
A. Neckthroughs are not that great for fretless (too much bottom).
B. Walnut is a somewhat brittle wood, a neck is a structural part of the bass and needs to be strong, consistent, and resilient in addition to having good tone characteristics. I prefer good old Maple, or maple/hardwood combination (laminated) necks. Graphite is a good choice too (very stable) but is on the harsh side tone-wise.
C. Bubinga body might be great. It is a hard wood with a higher resonant frequency so may be similar to a Maple body. If it's cutting quality you are looking for than this bass may be great. If it's mellow tone you need than a lot of EQ might be in your future to get rid of abundant high end tone.
This is just my personal opinion, please let your ears be the judge of what sounds good for you.
Can you describe the electronics of this prospective bass?
What I can say is that Ebony is fabulous for fretless fingerboards, and Rosewood is good, so something in between the two ought to be very good.
Re: Bubinga body and walnut neck (neckthru) on a fretless.
This may be great, it may be terrible. Tone woods is not a science, one bass will be exceptional, another will have dead notes or harsh characteristics. Your ears will tell you if it sounds the way you desire a fretless bass to sound.
My personal opinion this particular combination is:
A. Neckthroughs are not that great for fretless (too much bottom).
B. Walnut is a somewhat brittle wood, a neck is a structural part of the bass and needs to be strong, consistent, and resilient in addition to having good tone characteristics. I prefer good old Maple, or maple/hardwood combination (laminated) necks. Graphite is a good choice too (very stable) but is on the harsh side tone-wise.
C. Bubinga body might be great. It is a hard wood with a higher resonant frequency so may be similar to a Maple body. If it's cutting quality you are looking for than this bass may be great. If it's mellow tone you need than a lot of EQ might be in your future to get rid of abundant high end tone.
This is just my personal opinion, please let your ears be the judge of what sounds good for you.
Can you describe the electronics of this prospective bass?
One good note makes my day.
My first post.
Pau Ferro is a harder rosewood. It is less bright than ebony but more bright than rose wood.
Regualr rose wood is softer and will wear more when using round wound strings.
Ebony is harder and is chosen for it's durability and brightness.
Pau Ferro is just right. I swear by it. and it is prettier than the other two.
I have a musikraft neck maple/pauferro with tele head stock and this bass is distinct. it doesn't sound like any other fretless I've owned.
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Pau Ferro is a harder rosewood. It is less bright than ebony but more bright than rose wood.
Regualr rose wood is softer and will wear more when using round wound strings.
Ebony is harder and is chosen for it's durability and brightness.
Pau Ferro is just right. I swear by it. and it is prettier than the other two.
I have a musikraft neck maple/pauferro with tele head stock and this bass is distinct. it doesn't sound like any other fretless I've owned.
[/img]
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RichmanRush
- Posts: 34
- Joined: Sat May 10, 2008 4:45 pm
(sorry long reply)
Thanks for the replies guys. The reason I ask is this:
1) I've found a local luthier who currently has a 6-string fretless for sale with a Pao Ferro fretboard. I'm scared to try it out for two reasons: a) The bass looks fantastic and I'd hate to damage it in anyway, wear/tear or on accident with a ding and b) I may buy it on the spot LOL
2) As for the wood choices, I'd be asking him to make a custom bass. I choose bubinga as my dream bass (Warwick Thumb NT) has a bubinga body and while I haven't had extensive time playing one, I did like it and one of my favorite bassists uses it (Jeroen Thesseling). I also choose walnut as I've played a Carvin LB76F which is a walnut body and walnut/maple neck and it seemed decent. The luthier also uses walnut on alot of the custom instruments me makes so I figure it would be an easy wood for him to snag.
I'm not 'set' on anything. I need the money first before I even think of asking him to make me a custom bass. It's all the options that are overwhelming too... woods, electronics, construction etc.
I want to stick with neck thru as that is what I currently play on both my 5's. But I definitely want a 6-string fretless for my next bass. If I can scrounge up the money, I may take that 6-string he has off his hands if it is still available. But if it's not, I'd want to have him build me something.
I suppose a lot of this is just wishful dreaming LOL. We'll see what 2010 brings me and what I can afford
1) I've found a local luthier who currently has a 6-string fretless for sale with a Pao Ferro fretboard. I'm scared to try it out for two reasons: a) The bass looks fantastic and I'd hate to damage it in anyway, wear/tear or on accident with a ding and b) I may buy it on the spot LOL
2) As for the wood choices, I'd be asking him to make a custom bass. I choose bubinga as my dream bass (Warwick Thumb NT) has a bubinga body and while I haven't had extensive time playing one, I did like it and one of my favorite bassists uses it (Jeroen Thesseling). I also choose walnut as I've played a Carvin LB76F which is a walnut body and walnut/maple neck and it seemed decent. The luthier also uses walnut on alot of the custom instruments me makes so I figure it would be an easy wood for him to snag.
I'm not 'set' on anything. I need the money first before I even think of asking him to make me a custom bass. It's all the options that are overwhelming too... woods, electronics, construction etc.
I want to stick with neck thru as that is what I currently play on both my 5's. But I definitely want a 6-string fretless for my next bass. If I can scrounge up the money, I may take that 6-string he has off his hands if it is still available. But if it's not, I'd want to have him build me something.
I suppose a lot of this is just wishful dreaming LOL. We'll see what 2010 brings me and what I can afford
what is the need for a 6 string bass?
if you are in that upper tear aren't you really then a guitarist?
I get the Low B. But I've always failed to see the need for a High C string and everything above it.
There's really no money above the 5th fret. I tend to really play too. I just see that whole extra string as stepping on someone else's toes.
is it like having it to have it? I've been playing for 32 years. I have a baritone for my own head but I really would never play it in a band situation unless they wanted to feature it. but then someone else would be holding down the bottom. so I guess I wouldn't be playing bass anymore then...sorry..
if you are in that upper tear aren't you really then a guitarist?
I get the Low B. But I've always failed to see the need for a High C string and everything above it.
There's really no money above the 5th fret. I tend to really play too. I just see that whole extra string as stepping on someone else's toes.
is it like having it to have it? I've been playing for 32 years. I have a baritone for my own head but I really would never play it in a band situation unless they wanted to feature it. but then someone else would be holding down the bottom. so I guess I wouldn't be playing bass anymore then...sorry..