Originally Posted by Ronson Hall (Post 2342)

Ken, I originally asked Tim this question, and although I think he gave me a great answer, he encouraged me to ask the source, so here goes...

As I surf around looking at other high-end basses, I notice that a few builders use woods such as "spalted maple" and "buckeye burl." I've tried to imagine a Ken Smith built from one of these "unusual" woods, but it's not easy!

Give me the skinny on why these woods are not offered by you. If I'm beginning to get to know your style, I'd bet that although these woods are unusual looking, they're probably not the best choices for sound, tone and reliability. Am I right? :confused:

Originally Posted by Ken Smith (Post 2343)

Actually, I don't know why I would use them. Never seen a Violin made with them, have you? Not really a known superior tone wood, is it?

I have seen all these exotic 'furniture' type woods stuck on the tops of Basses and the only thing I can come up with is that they think looks is more important IF you think they look good.

Also, I have seen many of these so called high end Basses with tons of fills in the burls and knots with Epoxy or Acrylic or something similar. Since when did those glues and fillers become tone woods?

One builder working mainly off of TalkBass a few years ago showed how he was building a Bass. The burled top on one of the horns was not long enough so he 'glued' on another piece to make up for it. If we have woods too short or too thin or has a hole or void in the wood, we BURN it, literally.

When making 'your' model of Bass, it is important you have some clue of the tonal results you're looking for so when it's done you know if it's right or not. Trial and error is important at the inset but after you have proven results, why would you continue to 'fish' around with unknowns?

I go with what I know mainly. I do experiment from time to time but not because someone else is doing something that looks wrong to me whether it be a design, component or material. I pretty much know by now what I am looking for in a Bass and 5,400+ hand made Basses to my credit to date tells me I am a leader, not a follower!

Originally Posted by Tim Bishop (Post 2344)

Could not have said it better, unless I copied it from Ken's mind! ;)

Originally Posted by Tim Bishop (Post 2344)

Could not have said it better, unless I copied it from Ken's mind! ;)

Originally Posted by Ken Smith (Post 2343)

Actually, I don't know why I would use them. Never seen a Violin made with them, have you? Not really a known superior tone wood, is it?

I have seen all these exotic 'furniture' type woods stuck on the tops of Basses and the only thing I can come up with is that they think looks is more important IF you think they look good.

Also, I have seen many of these so called high end Basses with tons of fills in the burls and knots with Epoxy or Acrylic or something similar. Since when did those glues and fillers become tone woods?

One builder working mainly off of TalkBass a few years ago showed how he was building a Bass. The burled top on one of the horns was not long enough so he 'glued' on another piece to make up for it. If we have woods too short or too thin or has a hole or void in the wood, we BURN it, literally.

When making 'your' model of Bass, it is important you have some clue of the tonal results you're looking for so when it's done you know if it's right or not. Trial and error is important at the inset but after you have proven results, why would you continue to 'fish' around with unknowns?

I go with what I know mainly. I do experiment from time to time but not because someone else is doing something that looks wrong to me whether it be a design, component or material. I pretty much know by now what I am looking for in a Bass and 5,400+ hand made Basses to my credit to date tells me I am a leader, not a follower!

Originally Posted by Ronson Hall (Post 2346)

I think I'm going with Ken's expertice on this one! :rolleyes: