It was very successful both in tone and weight. I found that it had a rich complex character to it that I wasn’t expecting. I have used it several times since, and I’m really pleased with it. Carey Nordstrand – been enjoying okume lately. It’s what I used for my copper-covered bass, and it sounds great. I DOVRXVHGEXELQJDDQGZHQJHIRUWKHQHFNDQG¿QJHUERDUG on that bass. I’ve always loved wenge, and I have an MTD that Mike made for me that has an all-wenge neck. It has a tremendous punch and growl to it. Not a shy or subtle wood, at all. I also love making all-maple basses, for some reason. The vJ slim I mentioned above has a solid quilted soft maple body and a one-piece maple neck with a maple skunk stripe. I know the common perception would probably be that that bass would be unbearably bright, but that’s not the case, at all. It’s super punchy and growly, and I just love it for that. Kenneth Lawrence – I’ve always worked with a variety of unique woods and really enjoyed the different working and sonic qualities. That said, I still very much like the “standards” for the bulk of the body and necks. What I’m PRVWH[FLWHGDERXW�f;WKRXJK�f;DUHWKHWHPSHUHG
WRUUL¿HG woods. I’ve done a fair amount of research/reading on violins and some of the wood treatments that happened with them, plus what happens to woods over time. When the acoustic guitar builders started “baking” their spruce tops, I was very excited about the possibilities of what that would do to bodies and necks (to the point of trying to bake some body blanks in my home oven … didn’t really work, mostly because I didn’t know what I was doing; plus, it stunk up my house!). Well, I had to wait for 20+ years, but now it’s happening and it’s very exciting!! Aside from that, I, like Pete, have some bamboo that will be in a bass or two, depending on how it goes. Pete Skjold – Ken, that is awesome you are going to use EDPERRDQGWKDW\RXXVHWKHWRUUL¿HGZRRG7KHEDPERR, use is slightly carbonized, which is a similar process, and it seems to make a good bit of difference. Very cool! Mike Kinal – Since I play professionally, I like to try out a QXPEHURIZRRG�f;SLFNXS�f;DQG¿QJHUERDUGFRPERV2YHUWKH last while, I’ve been using roasted maple, with stainless frets, and found excellent results as far as stability and tonality. I like the clarity and snap you get with stainless frets and titanium bridge saddles. Michael Tobias – We have been using maple, ash and wenge for a long time. I have not looked for another neck wood for a while. We have been using more roasted maple blanks lately. The process of torrefaction (roasting, toasting, baking) makes the neck dimensionally stable. Mixing the bass gear 94 roasted board and non-roasted neck, or vice versa, makes a very nice combo. Gerald Marleaux – We have been using Dibetou as body wood for many years. I never saw this wood in other instruments. It sounds so great, and it is great working with WKLVZRRG2ND\�f;LWORRNVXJO\�f;VRLWDOZD\VQHHGVWLQW)RXU a few years, we have been using softer maple for necks (it’s grown in our area), and our basses sound much better than in past … more punch, more open. Sheldon Dingwall ±$OOWKHWLPH/2/,¿QGWKHWKRXJKW of the “next great idea” really energizing. However, my fail ratio is at least 10 to 1. I try to fail quickly and move on. The tricky part is to not get too emotionally attached to any one idea, because it blinds you to a simpler solution. Also, if you’re emotionally invested in an idea that fails, it really messes with your self-esteem. Just prior to focusing on basses, I’d come up with a guitar design that used an aluminum structure to connect the neck and bridge. The aluminum carried the string load, which allowed bodies of different tone woods to be bolted on as you wished. I was pretty emotionally invested in that one. I recall going from the feeling of “King of the World” to “Idiot” within minutes of stringing it up, the response was so bad. That same day, I saw the Novax® system on a Klein guitar and changed my course – kind of permanently. George Furlanetto ±:HDUHH[SHULPHQWLQJZLWKWRUUL¿HG woods, currently, for bodies and necks. They seem to be a little lighter in weight, more stable and sound a little crisper. Joe Zon – We are heavily into composites, because of WKHEHQH¿WVWKH\RIIHU7KDWVDLG�f;ZHDUHH[SORULQJVRPH new alternative materials to see what effects they have on the tonal qualities of our instruments. As for wood, I have designed some new internal structures for a series of wood-neck basses that I think will offer greater stability and performance than graphite or metal rods, yet retain a traditional tone. Roger Sadowsky ±2XUQHZIDYRULWH¿QJHUERDUGZRRG is African blackwood. Very dense like ebony, but with a beautiful grain. Unfortunately, it is also a Dalbergia , so it IDOOVXQGHUWKHQHZ&,7(6,,UHVWULFWLRQVRQURVHZRRGV2XU QHZIDYRULWHERG\ZRRGLVWRUUL¿HGVZDPSDVK«LWKDV DPD]LQJFRORU$QGRXUQHZIDYRULWHQHFNZRRGLVWRUUL¿HG maple.