Official Luthiers Forum!

I have inquired re: the following questions and have not received clear answers-probably because of my in-artful stating of the questions.

Here goes (again):

1. Many here have expressed the proposition that Ebony Fretboards and bridges dampen the sound.
I glean from other comments that BRW and Af. Blackwood 'sing'.
If we 'one at a time builders' constantly strive for materials or techniques that allow us to squeeze all the performaance possible from our builds, WHY DO YOU USE EBONY INSTEAD OF BRW OR BLACKWOOD FOR FINGERBOARDS AND BRIDGES?

2.When I first learned of the technique of the 'floating fretboard', the concept made total, logical sense:
The attachment of the fretboard and the use of a 2x4 for bracing eliminated the upper portion of top as any source of add'l sound.
With float and 1/4" bracing + add'l thinning, the upper should contribute additional sound-esp. body shapes that have larger upper (000, D18) and should improve to a lesser degree, shapes w/ smaller upper (L-00 and other Gibson (and others) Baby Buddhas (you know, those big round lowers--If no one has described the afore mentioned (sheesh, sorry, some lawyer talk crept in) 'roundies' as 'Baby Buddas', I've got dibbs
So, if we are trying to build for max performance, why isn't the 'floater' standard?

Bob,

My 2 answers.

1. There was a post heresometime back about bridge material and Al C made some very interesting and helpful comments there. Impedance rather than damping is the thing and in some designs ebony will work better. It's all about total systems.

2. Because Martin don't do it.

_________________
Dave White
De Faoite Stringed Instruments
". . . the one thing a machine just can't do is give you character and personalities and sometimes that comes with flaws, but it always comes with humanity" Monty Don talking about hand weaving, "Mastercrafts", Weaving, BBC March 2010

The main arguments I have seen for Ebony FBs and Bridges are:
1. great black color (is this really an issue with oils, dyes and, of course Af. BLACKWOOD.

2. Durability-there is some issue here for BRW but is Ebony really more durable than Af. Blackwood?

3. Tradition-What can I say; is tradition exchanged for performance?

I understand of course if the client wishes Ebony, 'nuf said-but we should point out that this 'tradition' negatively affect sound, sustain, etc.

There are some who say that the upper part of the guitar soundboard (near the fingerboard) is not necessary to vibrate at all for a good guitar. I suppose that the whole system is what determines, but those builders who do not count on the upper area sometimes laminate the entire upper area with plywood to take it out of the soundboard resonance design. There are some who would say that the more rigid perimeter on the resonating soundboard area is better. therefore, a firm connection of the fingerboard might tend to help with that.

Bob,

I agree with Hesh, fret board choices between Rosewoods, ebonies or others IMHO have little to do with affecting tone or sound levels. Ebony fret boards are thought to be harder, seem to last longer and don't seem to be as adversly affected by oils from the fingers causing discoloration and staining over time. It has been positioned over time as "the best" or the "coolest" for whatever reason. I make my fret board decisions based upon my design. I like matching up my fretboards, bridge and head plates all being the same on a project. The other woods involved B&S, Top and other appointments will determine what look and direction I go with these.

I believe all bridges dampen the sound no matter what the wood type. Whether ebony dampens any more or less than BRW or ABlack I don't know.

My ear probably would not hear a difference.

I am not familiar either with floating fret boards

Mike
White Oak, Texas