I'm reading this article on African Blackwood and it got me to wondering.
I know nothing of guitar building but appreciate the intricacies of the craft.
The article mentioned that guitar builders (Luthiers) will use different woods
in different combinations to better achieve a particular tone, range, sustain, etc.
Each wood contributes it's own characteristics/qualities to the overall tone of the instrument.
In the article that I was reading, I believe this is what flipped the switch: (the author is speaking of Af.BW)
"Tonally, I would say that it can be as good as a great set of Brazilian when matched with the right top and
allowed to make its contribution to the overall tone of the guitar that it’s used in.
It has that nice quick bottom and great harmonic blanket that Brazilian lends to the final complexity of the guitar
in tandem with the contribution of the top and the builder’s work to maximize it.”
I then wondered; could this same principal be applied to cue-making via coring?
I don't see why it couldn't. Hit and tone are one in the same, just different applications.
Traditionally, the two greatest factors when considering to core are wght. adj. and added stability.
Sometimes both at the same time. I see this leading to more precise definitions of the term 'hit'.
You have the option of adjusting your core woods to achieve a desired end result.
Core-wood selection and different diameters of the core-wood, I see as being 'tuning keys'.
Maybe PH into BEM to get a stiffer/stronger hit whereas that same BEM could be sweetened out a bit with a Coco core.
Experiment with core diameters, the combinations are mind-boggling.
I haven't always been a fan of coring for the very reason that it did alter the hit characteristics.
I select my woods for the specific properties that I know them to have. Most times I guess right.
This, to me anyway, shines a different light on coring.
What I once considered to be coring's downside, I now see can be tweaked into a positive
enhancement to the hit and enjoyment of the cue. Tune the core to tune the cue.
Obviously, all this needs to be determined before you chuck the first piece of wood.
There is no adjustment once it's done.
You may not get it right the first time but by the third or fourth, you should be starting to learn something.
If all of this is already pretty much common knowledge then my only defense would be that I'm not always
the first one out of the gate. I try to finish strong though.
KJ
I know nothing of guitar building but appreciate the intricacies of the craft.
The article mentioned that guitar builders (Luthiers) will use different woods
in different combinations to better achieve a particular tone, range, sustain, etc.
Each wood contributes it's own characteristics/qualities to the overall tone of the instrument.
In the article that I was reading, I believe this is what flipped the switch: (the author is speaking of Af.BW)
"Tonally, I would say that it can be as good as a great set of Brazilian when matched with the right top and
allowed to make its contribution to the overall tone of the guitar that it’s used in.
It has that nice quick bottom and great harmonic blanket that Brazilian lends to the final complexity of the guitar
in tandem with the contribution of the top and the builder’s work to maximize it.”
I then wondered; could this same principal be applied to cue-making via coring?
I don't see why it couldn't. Hit and tone are one in the same, just different applications.
Traditionally, the two greatest factors when considering to core are wght. adj. and added stability.
Sometimes both at the same time. I see this leading to more precise definitions of the term 'hit'.
You have the option of adjusting your core woods to achieve a desired end result.
Core-wood selection and different diameters of the core-wood, I see as being 'tuning keys'.
Maybe PH into BEM to get a stiffer/stronger hit whereas that same BEM could be sweetened out a bit with a Coco core.
Experiment with core diameters, the combinations are mind-boggling.
I haven't always been a fan of coring for the very reason that it did alter the hit characteristics.
I select my woods for the specific properties that I know them to have. Most times I guess right.
This, to me anyway, shines a different light on coring.
What I once considered to be coring's downside, I now see can be tweaked into a positive
enhancement to the hit and enjoyment of the cue. Tune the core to tune the cue.
Obviously, all this needs to be determined before you chuck the first piece of wood.
There is no adjustment once it's done.
You may not get it right the first time but by the third or fourth, you should be starting to learn something.
If all of this is already pretty much common knowledge then my only defense would be that I'm not always
the first one out of the gate. I try to finish strong though.
KJ