Finish...

The finish on an instrument can be just as crucial as any other element in contributing to tone, playability, and appearance. I offer a variety of finishes to suit different needs. The accepted finish for guitars and basses has traditionally been laquer. This is the thick, high-gloss coating that most factories still use. This can actually be achieved with a few different materials, including nitrocellulose, urethane, and two part resins. I use urethane. Many players feel that vintage instruments sound better over time. Some attribute this to the nitrocellulose used at the time, but I disagree. The nitro breaks down over time, turning yellow, brittle, and cracking. This separates it from the wood, allowing the wood to breathe and vibrate freely, creating a better sounding instrument. It is the inherent flaws of the finish that are it's best attributes. Rather than waiting thirty years for this effect to take place, other finishes can instantly start this vibration tuning process. Rubbed oil has become a popular finish for basses in the past few years. It readily allows the wood to breathe while providing moderate protection against the elements. Oil finish also creates the feel of bare wood under the hands, which many players find extremely comfortable. Clients regularly report that after only about six months, there is a noticable improvement in the tone, as the wood has "opened up." Both the varnish and the tung oil can be reapplied very easily, making mantenaince more simple.

Wood...

Wood is the most crucial element in achieving both desired tone and solid construction. Most set-neck and neck-thru guitars are primarily mahogany, with a separate facing (usually figured maple). This helps create a big, warm sound that helps enrich the high frequency range. For the low frequency of basses, however, it is more desirable to focus on achieving a clear, transparent effect. This is usually accomplished with a primarily maple neck attached to either an ash or mahogany body. There are many species available, each with distinct characteristics. Using various combinations, an almost endless variety of tones can be obtained. The source of the wood can drastically affect the price. I keep my costs extremely low by going directly to the importers and distributors. This eliminates the specialty middlemen that many makers use. Such specialty sources frequently charge five to ten times the amount of a wholesale distributor. In order for wood to remain stable, it must be thoroughly dried. The most crucial area is the neck, where the slightest warp can mean big trouble. To avoid problems, I purchase kiln-dried rough lumber, mill it down to the necessary size, and allow it to air dry for a full year before use. If there is any internal stress, it will show by either warping or splitting the piece during the year. Woods that are commonly available: hard maple, figured maple, Honduras mahogany, ziricote, northern white ash, morado, cocobolo, ebony, bubinga, purpleheart, bloodwood, butternut, red birch, Brazilian rosewood, bocote, imbuya, afzalia, yellowheart, paduak, black walnut, prima-vera, black palm, lignum vitae, thuya burl, redwood burl, myrtle burl.

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