Les Paul-type owners Neck construction ?

Frank Estes · From: Huntsville, AL

Perhaps this would not apply only to Les Paul-type of guitars, but what differences would one experience (durability, tone, action, etc.) with a mahogany neck/rosewood fretboard versus a maple neck/rosewood fretboard, both are set necks to a mahogany body?

Frank Estes · From: Huntsville, AL

OK, any guesses or theories based on the differences in the wood characteristics?

Donny Hinson · From: Glen Burnie, Md. U.S.A.

As far as the neck material goes, mahogany isn't quite as heavy as maple, so the maple might "sustain" a little better.

A maple fingerboard, due to the finish, makes it much easier to "push" the strings. Rosewood fingerboards are usually not finished, and therefore offer more friction when you're trying those "Albert Lee" full-tone bends. (Rosewood sometimes contains oils, and this makes finishing tricky when you need durability.)

(It's been a long time since I played lead guitar, though!)

[This message was edited by Donny Hinson on 08 October 2002 at 08:54 AM.]

Frank Estes · From: Huntsville, AL

Thanks, Donny. It helps.

Michael Holland · From: Nashville, Tennessee, USA

Hi Frank,

Interestingly, weight does not equate to sustain. My Les Paul '59 Reissue is one of the new lighter weight ones and it sustains like crazy and has a very sweet tone. And the Schecter I recently got from Craig H. (thanks again buddy!) is featherweight and sounds huge - and plays incredible. The finish of the guitar actually has alot to do with tone and sustain, the old style nitro lacquer finishes are generally much better than poly finishes. The aging of the wood is a big factor, too.

Maple neck with a rosewood fretboard? There were some of the (awful) 70's Gibsons made with a laminated maple neck. Stay away from those unless it's a giveaway. I think the frets and the fretboard radius have the most to do with the action and playability of a guitar. A Gibson's larger frets and flatter radius (and don't forget the shorter scale) make string bending much easier. The Fender's smaller stock frets and the finished maple fretboard (combined with the longer scale) makes Fenders feel 'stiffer' while Gibsons feel 'slinkier'. That's why a lot of guys will refret a Fender neck and flatten out the radius a bit (even progressively - more flat up the neck), and even finish lightly the fretboard (or french polish) to take away the drag of the finish. That's the idea behind the Custom Shop Player Strat. It comes stock with the upgrades that many players will do to their favorite guitars (big frets, flatter radius, better bridge and tuners).

My Les Paul and Mesas

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Fessenden SD10 - Mesa/Boogie amps

Frank Estes · From: Huntsville, AL

Thanks, Michael. I was counting on you checking in.

Del Rangel · From: Clayton, NC

Go to http://pub123.ezboard.com/bguitarsbyfender and then scroll down and choose USA Custom gate. On the forum there post and talk to Tommy. He runs/owns USA custom and this topic is often discussed on that forum.
Most folks seem to think a regular maple neck is the most stable and requires less care. Gives a fuller tone. Mahogany is lighter, requires more care in finishing and seems to be brighter in its tonal qualities. As for finger boards, seems to be what you like as well as what has been said already. Also see http://www.usacustomguitars.com/ A good forum, and like this one a good bunch of guitar maniacs. Lastly, there are as many who like the Mahogany necks (particularly set necks) for their brilliance and sustain. They would say the maple is brighter. Its just not my experience. Still, I only know Fenders and Carvin Bolts and there mostly maple necks. If I were to build something now it would be quartersawn maple neck w/birdseye maple fingerboard in clear lacquer, 6105 Dunlop frets, BMOP markers, with a 2-piece alder Tele body set up for Bill Lawrence pickups --280/280/290 w/7way switching and a Mann made bridge with locking schallers w/ a burnt cherry lacquer finish. Its good to dream!!!!

[This message was edited by Del Rangel on 08 October 2002 at 10:34 PM.]

Frank Estes · From: Huntsville, AL

Thanks, Del. You mentioned two of the main issues I was wondering about in regards to the neck material.

erik · Posted 8 Oct 2002 5:06 pm

That's interesting Del, i would have thought the opposite.

As far as tone goes, most people forget that you are talking about the string's vibration path. The mass and density of the types of woods used will have the most impact on tone. Bridge, nut, string composition, tightness, etc. to a lesser extent.

Donny Hinson · From: Glen Burnie, Md. U.S.A.

Additional weight (mass, really) in the neck adds to the sustaining quality.

Ever tried a "Fat-Finger"?

Michael Holland · From: Nashville, Tennessee, USA

I think you're on to something there, Donny. I never really thought of the weight of the guitar's neck (unless it was one of the few times I played a reverse Firebird - don't let go!). But I do prefer guitars with larger necks because they fit my hand better. Maybe it's cause it does also have an effect on the sound and sustain, too.

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Fessenden SD10 - Mesa/Boogie amps

Frank Estes · From: Huntsville, AL

Thanks for all the input! I know Michael will not be pleased,

but I bought this: LP Copy because a $2500 Gibson is out of the question.

A few weeks ago I bought one of these: SLP JR and I certain got a good one because the action and finish are in the very good category.

My whole interest in Les Paul's as of late is a complex issue. First, Musician's Friend had a few almost in my price range and I thought about the Epiphone Nuclear-Extreme LP crackle finish.

In the meantime, I had purchased a Stevie Ray Vaughan style instruction video Video because I really like his style. In the video, the instruction mentions how one has to really work to get the tone out of strats, not like the Les Pauls where they sing or words to that effect.

I thought, hmmm...these small hands of mine and the idea of not having to "beat good tone" out of guitar made me even more curious.

BTW, this video is very good. Curt mentions how Vaughan used a .014 as the first string! Ouch! That hurts justing thinking about it. I prefer an .008! Furthermore, I guess Stevie had bass guitar frets put on his guitar!!! The guy had very powerful hands and simply smoked that Strat.

Now, at our church, they want to add some of the more contemporary songs to our current list. I used some distortion (which I never use in church) with the Essex SLP Jr at our practice and it really smoked!

Thanks to those who pointed me in the direction of those guitar reviews in Harmony Central Web Site.

And, Mike Perlowin, sorry I did not get a chance to return your call. When you called me, I had myself talked out of getting another guitar and now I have bit the bullet.

I still love my Tele, but if you want that humbucker sustain, whether in clean mode or distortion, the Les Paul type guitars are second to none.

Thanks again!

erik · Posted 9 Oct 2002 1:57 pm

Frank, i'm no guitar playing expert that's for sure, but i don't really buy that "work hard" to make a Strat sound good. If your Strat is a dud than perhaps that would be true. I have a Squier Strat that has great personality. It's characteristics are 50% of my tone. It makes me sound better than i really am. On the other hand, a Les Paul has a more constant tone and therefore requires more hand work to get "personality" out of it. So my view is just the opposite of the general concensus.

Donny Hinson · From: Glen Burnie, Md. U.S.A.

Michael, the "Fat-Finger" (essentially, a small weight that clamps onto the headstock of a guitar) wasn't my idea, but those who use it swear by it, and say it does give a noticeable increase in sustain.

Michael Johnstone · From: Sylmar,Ca. USA

Frank-
Here's an SRV story for ya - I heard it from an eyewitness and it's too weird not to be true: Stevie's big strings and high action were hard on his hands and his fingertips were often in bad shape. One night backstage before a gig,the callous on one of his fingertips which had been split,torn off and superglued back together several times finally gave up the ghost.He took his boot off and with a razorblade cut a piece of callous off his heel and superglued it to his fingertip,trimmed it up,sanded down the edges and played the gig - no problem. He said he learned that trick from some old blues guy in Texas. Too bluesy for me...

Frank Estes · From: Huntsville, AL

Wow, Michael!

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