Do you guys think there would be an advantage to making the neck block and the neck out of the same wood? Seems like it could possibly help the whole
thing resonate a bit more sympathetically.
I generally use basswood for the neck block. Considering using it for the neck--a really soft wood, I know.
Any thoughts?Jameel - 5-9-2009 at 04:12 PM
I've used it for a veneered neck. Basswood is pretty stiff, so I think it's a good choice. If I could get spruce though in larger chunks (should be
easy, I've just never bothered) I'd use that instead. Douglas fir would work too. It's very stiff.carpenter - 5-10-2009 at 07:39 AM
I recall reading in some classical guitar making books that basswood isn't used much, except maybe for linings. They claim it doesn't transmit sound
well; spruce or similar is for neck and end blocks.
Everybody's got their own opinion. Mine is, that everything on an instrument vibrates and transmits sound to one degree or another. It seems to me
that stiff, "noisy," vertical-grain wood would be a plus for a neck.
In the name of Science, I just went out to the shop, and dropped similar-sized (4 x 1 x 2) pieces of spruce and basswood onto the floor. The basswood
went "thunk;" the spruce made more of a tone, and bounced all over. So there might be something to that, or it might all be luck and guesswork.Jonathan - 5-10-2009 at 08:17 AM
Thanks, guys.
I guess my question is if it helps to have the neck and the neck block the same wood.
In the past, I used basswood for the neck block, and another wood for the neck. Do you think it would be advantageous if they were the same wood?carpenter - 5-10-2009 at 10:10 AM
You could always try it on a few ouds and report back! Heh.
I'd have to say, "I don't think so." I'm considering what a neck block has to do - anchor the rib ends, and accept the neck joint. So something that's
easily enough worked to carve the required profile for the ribs, and non-splitty enough to take the neck joinery would be good. I use tight-grained
pine; I've used alder, also. More important to me would be the accuracy and goodness of the joinery, and nice grain in the right direction.
I use the spline in the laminated neck for a tenon into a saw slot in the neck block. There's acres of glue area there, no matter what the wood.
Dovetails might be a bit fussy for the job; I could do it, but haven't seen the advantage.
I could be horribly wrong. Just an opinion. "If not completely satisfied, return unused portion for full refund."Jameel - 5-10-2009 at 03:23 PM
Quote:
Originally posted by carpenter
The basswood went "thunk;"
That's it. I give up. I'm burning the only oud I made that I still own.....carpenter - 5-10-2009 at 04:05 PM
Aw, no, don't do that. You could stuff it with dirt and plant ivy in it! It'd look fetching over the fireplace next to the moosehead.
Just kiddin'. Um - Did you make a basswood oud?bulerias1981 - 5-17-2009 at 03:33 AM
How about blocks made from willow? Violins are usually spruce or willow.. Most makers actually prefer willow nowadays.oudmaker - 6-30-2009 at 03:27 PM
Hi Jonathan,
I use basswood for neck block and spruce for the neck. I do not think there will be any effect to the sound of the instrument. My concern is always
the stability and strength of the neck and workability of the block.
Regards
DincerJonathan - 7-3-2009 at 02:32 PM
Thanks, Dincer. It's great to hear from you again.
