Cuzzie

We are actually saying the same thing - I have never said that all maple sounds the same, I fact in my earlier post I alluded to there being a difference between Canadian and Norwegian maple - with your poor replacement you had a crap bit or wood - doesn’t matter the species if it’s crap, it’s crap, However, with a the subset species of each Wood there will be similarities, compared to a subset of species of another, will there be cross over? Of course there will, it will be like The Olympic Rings symbol. Good poo t about aged vs new - there is a difference be it natural or artificial and how you go about the process and there is evidence out there From research university studies primarily I think in Braunschweig Uni and also a university in Finland

Or it’s a subject that genuinely interests them - no one is saying (yet)that P players are better than MM or jazz players, solid colour bass players are better than natural Finish bass players - we all have our interests

So we all know that pick up placement, type of pick up and Pre-amp make a difference - no one argues that. The original Stingray produced by Leo did have a P pick up in the position, but was changed to an MM. So to answer your question - the passive P pick up in that position will sound more like a Fender Elite II without the pre-amp The Ray Rosewood would sound like a Ray Rosewood and the Ray maple like a Ray maple, as per Sylivia’s excellent blog test results. Popping a Seymour Duncan or Aggie MM with a Ray pre amp will sound different to the Ray, as it would with an OBP pre-amp. what you are suggesting is fine, but is then comparing the sounds of different electronics using the bass material as the constant, what I suggested was keep electronics constant and change the wood as that was what was the question. Both valid tho

graphite is wildly different, done it on a bass - where nowt changed but the neck - big difference

Indeed so if the aspect of wood made little or no difference, the same pick up Etc in various basses of the same style and construction Should also make no difference as that is the control. If the same pick up, Wiring harness (unharmed) strings, bridge, tuning pegs, nut, player, amp, cab, room humidity - whatever you want is transported across different basses and produces a different Sound - then it must be solid material related surely?

Of course and yes - get a new head - it wants you to

The St Vincent is amazing - player and guitar. I was just wearing myself off the Ghostwood finish, and now this Pink Champagne is lush. Fortunately my last barrier is placing a Monetary limit on any purchase which is stopping me

If we switch it around........metals/alloys electrics, pick up winding - do we assume that they are consistent?! So we can either take the same pick up and bridge and strings across various different basses pop them in and see if there is any sonic difference. Or take the same Make/manufacture of pick up and pop it in identically made basses with various different combinations of wood, body, neck etc. Get someone with super dog like hearing Then should they not sound same, or will there be a difference?

@acidbass see what you have done! I’m going to set my wood outside in the first decent day for a while as I know South West sun makes a difference to the overall quality and effect on the bass

Think I have read that article and will do so again just now, but I have also had a long chat with Hölger (Sandberg owner) I reckon he knows his onions, same conclusion about fretboard woods and the difference and we looked at the usual crew plus Oak, fumed/steamed oak, Canadian maple, Norwegian maple etc. I’m signed up to the difference

Great blog bravo

@CameronJ I gets what you is saying and also @Drax but it’s all in the recipe - a pinch here and a pinch there will give the overall flavour, Change an element - the end result will change

Heathen

The iRig you mention will also work

Starting place is structure, cellular alignment, pores, heartwood, sapwood, cambium, phloem, xylem etc and how they are used and Align will all make a difference. The tiny pockets, maturity, alignment allow vibrations to pass and either deaden or amplify etc.

The yay-sayers (of which I am one) will say it makes a difference, which it does, the nay-sayers will say it makes no difference and then say, well not an appreciable one that most people will be able to tell. To my mind what that actually means is it does make a difference then! Construction, density, type of wood, ageing of the wood, cellular structure maturity, quality of materials etc all make a difference. I’ve been round a factory and felt and listened to all types of fingerboard and body woods, and it does make a difference. When you work with a block of wood. The smell and it’s characteristics, how it handles are obvious and do make a difference, even wood of the same genus doesn’t sound exactly the same each time. If interested there is research out there to back this up, you just have to have an inspector clueso and find it

Yes you are bad, a very naughty man, it therefore surprises me not you cannot comprehend. Once you see the light and become good, then you shall be enlightened - we can act as your guide

Agreed - but I say go for it!

In between the 2 - I don’t try and bash it, and am careful esp about neck and tuning pegs etc, I would never want it to fall, but if it gets a clip - then so be it. When I am popping a ‘relic’ together I abuse the body a bit, but I haven’t got it bolted together at that stage, once it’s all connected, as above, I don’t want electrics etc either coming loose

Latest one I have done - body was shaped from a block of ash from the start. Loads of imperfections everywhere, so I started a relic from the start of it makes sense, didn’t completely and properly sand/grain fill. You’ll see the odd knock in the photo, but after painting as I transport it around, I didn’t use kid gloves, but I wasn’t brutal, some were accidents like the soldering iron hitting it as wiring up, I suppose that is genuine mojo?! Neck sanded back and then tinted grain filler.

Perfect-doesn’t require mass dissembledness - I often do mine whilst I am sat either reading/listening/watching stuff. You can use harsher materials, maybe 000 wire wool, or some form of sandpaper (i’d day 400 grit minimum and above and finer) and see what happens and what works for you. It may just be dulling some areas Which are more regularly brushed against so you get a shiny/dull contrast is enough relic for you It’s time consuming, but when done ok it’s worth it

Just go gentle with 0000 wire wool - start somewhere unimportant, maybe belt buckle area or under the ashtray so it can be hidden and see how it goes