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Gail Simmons Joins Babson As Entrepreneur-In-Residence
'Top Chef' judge and food celeb to help student entrepreneurs shape beneficial food enterprises
WELLESLEY, Mass., Feb. 20, 2013 /PRNewswire-USNewswire/ -- Babson College has named Food & Wine Special Projects Director and Top Chef Judge Gail Simmons - accomplished culinary expert, food writer, and dynamic TV personality - entrepreneur-in-residence.
Her appointment is co-sponsored by Babson's Center for Women's Entrepreneurial Leadership (CWEL), which provides opportunities for women to act entrepreneurially, transform their aspirations into reality, and create social and economic value for themselves and others; and the Lewis Institute for Social Innovation at Babson College, where entrepreneurs obtain the resources they need to build new businesses based on sound social, environmental, and financial values.
Simmons will work directly with CWEL and the Lewis Institute to mentor and guide Babson entrepreneurs, especially in designing strategic marketing and communications approaches to their enterprises.
"As an inspirational food communications entrepreneur, Gail Simmons will share her rich and diverse experiences with students and help them shape ventures that will impact and add value to the world," said CWEL Director Susan Duffy.
Simmons is an active supporter of Common Threads, an organization that teaches low-income children to cook wholesome and affordable meals. She was a founding member of Food & Wine's Grow for Good Campaign to raise funds and awareness for sustainable agriculture programs in the United States. She also sits on the boards of City Harvest, Hot Bread Kitchen, the Institute of Culinary Education's Alumni Committee, and the Women at NBCU Advisory Board.
"Gail Simmons will be a tremendous resource for our students and faculty interested in virtually any aspect of food," said Cheryl Kiser, executive director of the Lewis Institute for Social Innovation at Babson College. "She can bring opportunities to student entrepreneurs, offer the latest insights and thinking on food issues, and provide a wealth of knowledge to get people ready to develop food-related initiatives."
About Gail Simmons
Gail Simmons is a trained culinary expert, food writer, and dynamic television personality. Since the show's inception in 2006, she has lent her extensive expertise as a permanent judge on BRAVO's Emmy-winning series Top Chef. Now in its tenth successful season, Top Chef is rated the #1 food show on cable television. Gail is also host of Top Chef: Just Desserts, Bravo's pastry-focused spin-off of the Top Chef franchise, which aired its second season in the fall of 2011.
Gail joined Food & Wine in 2004 and directs special projects for the magazine, acting as liaison between the marketing and editorial teams on magazine events and chef-related initiatives, working closely with the country's top culinary talent. During her tenure, she has been responsible for overseeing the annual Food & Wine Classic in Aspen, America's premier culinary event. Prior to joining Food & Wine, Gail was the special events manager for Chef Daniel Boulud's restaurant empire.
Born and raised in Toronto, Canada, Gail moved to New York City in 1999 to attend culinary school at what is now the Institute of Culinary Education. She then trained in the kitchens of legendary Le Cirque 2000 and groundbreaking Vong restaurants, and worked for esteemed food critic Jeffrey Steingarten at Vogue. Throughout her career, Gail has contributed to several cookbooks, including It Must've Been Something I Ate by Steingarten, Chef Daniel Boulud: Cooking in New York City and The New American Chef, by Andrew Dornenburg and Karen Page. Gail's first book, her very own memoir titled Talking With My Mouth Full, was published by Hyperion in February 2012.


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Nothing short of their season was riding on their ability to find it, as the Lakers came into Tuesday's game against the Dallas Mavericks on the outside looking in on the playoffs, a half-game behind the eighth-place Utah Jazz in the Western Conference standings. In basically a win-or-else situation, the Lakers found their rhythm even with Bryant still ailing and Steve Nash unavailable. Los Angeles (39-36) earned a 101-81 victory that, for the moment anyway, draws them even with the Jazz. However, that comes with an asterisk, as the Jazz own the tiebreaker against the Lakers, who need to finish at least one game ahead of Utah for eighth place to earn a spot in the postseason. And with seven games remaining, that's no sure thing even if the Lakers win out. That's an issue for another day. For one night at least, the Lakers struck an offensive and defensive balance that's too often eluded them in this strange, disappointing season. Four of the seven Lakers who played more than one minute reached double figures in scoring. Bryant notched 23 points, 11 rebounds and 11 assists for his 19th career triple-double, and Dwight Howard anchored the middle with 24 points and 12 rebounds. "I told you guys, he has that vino," Howard said of Bryant. "I'm just happy that we played the right way tonight, especially on the defensive end. That's a big thing." Bryant also had four steals and two blocks while playing 47 minutes in one of his better all-around games of the season. He now turns his attention to the final stretch -- and the Lakers are setting their sights on sweeping their remaining schedule. "Yeah, that's the mentality," Bryant said. "That's what we're going for. We have a tougher schedule, but I wouldn't have it any other way. If you want to get to the playoffs and expect to make some noise, you have to beat playoff teams." Lakers forward Pau Gasol finished with 14 points, six assists and 10 rebounds, including five of the Lakers' 19 offensive boards. "There's a sense of urgency," Gasol said. "We understand that there are seven games left. Right now we are out of the playoffs, and we need to win one more than Utah." Earl Clark added 17 points and 12 rebounds for the Lakers, who host the Memphis Grizzlies in another key game Friday at Staples Center. For Dallas, the loss was a devastating blow to its playoff hopes. The Mavericks (36-38) are now 2 1/2 games behind the Jazz and Lakers with eight games remaining, including Wednesday's road game against the Denver Nuggets. "It is a hit," Dallas coach Rick Carlisle said. "It is a game we needed. We have eight more, and we're going to have to get ready for the next one and shake this off." Dirk Nowitzki struggled to reach 11 points on 4-of-13 shooting. Chris Kaman added 14 points and six rebounds for Dallas. "I just thought overall we didn't play well enough," Nowitzki said. It didn't help he suffered one of his worst shooting nights. "They had long bodies on (Nowitzki). They were physical," Carlisle said. "When we got him touches, a lot of times he was forced to pass. Unfortunately, we were unable to hit a lot of the shots where he kicked out." And with Bryant making like Magic Johnson with a triple-double, and with Lakers legends like Jerry West, Elgin Baylor, James Worthy and Phil Jackson on hand to celebrate O'Neal's big evening, it was a night for the home team from beginning to end. NOTES: Dallas Mavericks owner Mark Cuban was in rare form before the game. He went down memory lane during a chat with reporters, and as usual found time to playfully tweak the Purple and Gold. Of Jackson, who is engaged to Lakers vice president Jeanie Buss, Jackson said: "I have great respect for Phil, Jeanie's husband, as he'll be now be known," Cuban said. "Someone's got to be the first housewife of the Lakers." On a more serious note, Cuban admitted affinity for both O'Neal and Jackson. "Like Shaq, they're both part of what makes the NBA unique. There's not a lot of personalities that really define themselves, not just by their accomplishments on the court, but by their wit and intelligence off the court." Meanwhile, Cuban also said he would be open to giving Baylor University women's basketball star Brittney Griner an opportunity to show she could play in the NBA, and would even consider drafting her if she were the best player on the board when the Mavericks' selection comes up. ... Nash said he is optimistic he'll return Friday against the Grizzlies. Nash has missed the past two games with a hamstring injury, and he's also been hampered by a hip spasm. Steve Blake has started in place of Nash, and he scored 11 points Tuesday.
- Basketball
- Sports & Recreation
- Los Angeles Lakers
- Dallas Mavericks
- Kobe Bryant

subset: commoncrawl


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|Joel Skotte Biography
Courtesy: Athletic Communications
Release: 07/16/2013
OREGON STATE – 2014: Joel Skotte (pronounced Scott-EE) underwent surgery on his neck following the 2013 season and missed spring ball …has a redshirt season available. 2013: Joel began the season as the starting middle linebacker … played in 11 games, starting the first four games … recorded career-best seven tackles at Utah … named to Pac-12 All-Academic honorable mention. 2012: Joel had extensive playing time on special teams … one of five true freshmen to play.
MOUNTAIN VIEW: A two-time team captain for Mountain View, Skotte helped lead the Cougars to the 2011 5A state championship making 89 tackles in 12-1 season … named 5A Defensive Player of the Year for state of Oregon as a senior … invited to 2012 Les Schwab all-star game … Rivals.com three-star athlete; rated the No. 30 inside linebacker in the country and No. 5 overall prospect in Oregon … Tacoma News Tribune Western Hot 100 member … Scout lists his strengths as tackling technique and speed … 162 tackles as a junior, earning second team all-state honors at linebacker … named league defensive player of the year as a junior … also played running back at Mountain View … played basketball and participates in track.PERSONAL: Born August 4, 1994 in Portland, Ore. … son of Daniel Skotte and Nancy Garrett … has one brother, Dan, and one sister, Sarah … father, Daniel played center at Air Force … sister, Sarah, played soccer at Western Oregon University … brother, Dan, is an Oregon State graduate … student body vice president at Mountain View High … lists dirt biking, horses, shooting, and anything outdoors as interests outside of football … says his biggest athletic thrill to date as "winning the 2011 state championship" … majoring in animal sciences with an option in veterinary medicine.


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This month marks the second anniversary of the Iraq war. Day-to-day life in a war zone is starting to weigh on the troops, but a local soldier's father is trying to provide them with a few more of the comforts of home. Now, he needs your help.
Here are some of the items the troops need:
You can drop off these items at Newschannel 7 or Michael Creel's workplace at Arinc off of Thomas Drive. Creel's phone number is 774-9627.
Creel will send weekly packages until the end of this month.


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On Friday, April 4, the Museum of Discovery and Science will host its 19th Annual Bank of America Wine, Spirits and Culinary Celebration, with all proceeds benefiting the Museum's exhibits, films, education, conservation, and outreach programs.
Last year's Wine, Spirits, and Culinary Celebration set an attendance record with over 2,000 guests. This year's event, co-chaired by Mark Talbott, John Ebenger and Vivian Porcelli, will seek to top that record, showcasing a sequence of wine or spirits, and culinary samples each bound to delight, educate and entertain guests and their palates. The highlights of the evening are tastings from over 40 of South Florida's leading restaurants, and a vast array of wines and spirits from around the world, courtesy of beverage sponsor Southern Wine and Spirits. There will also be an assortment of craft beers to taste.
This year's list of restaurants as of 2/18/14 includes: 3030 Ocean, A Thierry's Catering and Event Design, Agape Cakes, Beauty and the Feast, Bravo, Café Ala Carte, Café Vico, Capital Grille, Cookies by Design, Crepemaker, D'Angelo Pizza, Winebar, and Tapas, Grateful Palate, Grille 401, Hoffman's Chocolates, Himmarshee Public House, Hyatt Regency Pier Sixty-Six, Johnny V's, Mancini Las Olas, Melting Pot, Publix Aprons Cooking School, ROK: Brgr, S3, SAIA, Sea Level Restaurant and Ocean Bar, Shooters, Susie's Scrumptious Sweets, Texas de Brazil, Thasos, Timpano, Trulucks, Vienna Café and Wine Bar, Whole Foods, and Yolo Restaurant. Guests will vote for their favorite restaurant which will win the honor of THINK Magazine's "Peoples' Choice Award".
Visitors will also have an opportunity to bid on some amazing silent auction prizes, and each guest will receive a complimentary Riedel wine glass.
The evening will start off with an exclusive VIP Martini Reception from 6:00 p.m. to 7:30 p.m. generously provided by A Thierry's Catering. VIP guests will enjoy an exclusive seminar as well as early tasting. The VIP evening concludes with exclusive access to the ultra-chic Hilton Fort Lauderdale Beach Resort VIP Lounge to eat, drink and dance under the stars from 8:00 p.m. to 11:00 p.m. on the Museum's Atrium. The evening attire is City Chic. Special seminars include a champagne tasting by "Champagne Wayne" at 7:00 p.m., teaching that champagne is not just for weddings, and a wine tasting by Big 105.9's Paul Castronovo, from Castronovo Vineyards, at 8:00 p.m. Seminars will be held in the Keller Science Theater.
Doors open for VIP admission at 6:00 p.m. and to general admission at 7:30 p.m. VIP tickets are $150 per person and general admission tickets are $85 per person. Presale tickets are available at a reduced rate through March 2, 2014 with VIP tickets reduced to $135 per person and general admission tickets reduced to $75 per person. For advance tickets please call (954) 713-0954 or visit the event website. Guests are encouraged to share in excitement of the event through social media by posting pictures of the event on Museum of Discovery and Science Facebook Page and Tweeting @IMAXSOFL and #MODSWine.
Be sure to subscribe to this column, travel to some of the greatest local getaways around, all from the comfort of your desktop (or laptop, or PDA, or smartphone!) If you have a favorite local attraction you'd like to see profiled, please let me know. Also, be sure to follow me on twitter, and read my articles about motorsports, HOAs, elections, and restaurants.
Suggested Links
- Party like a rockstar at the Museum of Discovery and Science in Ft. Lauderdale
- Spend a day at the Museum of Discovery and Science in downtown Fort Lauderdale
- Science rocks at the Museum of Discovery and Science
- Dinosaurs invade the Museum of Discovery and Science
- Learn the physics of skateboarding in the Tony Hawk RAD Science Exhibit at MODS


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Skydiving.com now has a network skydiving location serving Parkers Lake and McCreary County in Kentucky. Call Skydiving.com at 1-800-617-7948 for details, free information and specials on skydiving in Parkers Lake, KY today!
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Promise have just released a new generation of "SuperTrak EX" and "FastTrak TX" host-based SAS RAID controllers into their lineup which support up to RAID 5/6 and use the PCIe interface.
You can obtain full details on each of the new models available within the announcement here folks.
Promise's SuperTrak EX offerings are 4- and 8-port internal, hardware-based SAS and SATA RAID controllers using Intel's 81348 IO processor. They support RAID 5 and RAID 6 and are designed for data protection needs based on entry-level and midrange server platforms running all popular Linux distributions as well as Windows. Target applications include disk-to-disk backup, video capture, post production and database applications. Additional models of the SuperTrak EX family are expected to ship by the end of the quarter.
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Jun 17, 2011 11:00 AM
Oh Kat, Kat, Kat. We all know it takes more than your Kat Eye Brush Set ($48) to create that manipulating face you wear shamelessly every day. It must take at least three times as many brushes to paint those chongalicious eyebrows and deceptive cat eyes onto your suspiciously tight face. Please. Our high-definition TVs don't lie.
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Guitar Body Weight and Tone
i'm the only one thats commented. nuhhh nuhposted on November 9, 2013 at 12:19 pm
I have had some very different guitars sing to me from across very broad spectrum of woods, body weight and construction methods (and price). I a big proponent of the right tool for the job. With varying styles of music that call for many different pallets of tone. I find that pre weight relieved Pauls are much more articulate than newer chambered ones, that a Basswood bolt on Ibanez RG 440 ($220.00 pre owned) is the best guitar I own for legato type fusion playing. Neck wood and construction seems to makes up a huge component of the sound also, a Rosewood Tele with a solid one piece Rosewood neck was quite possibly the sweetest sound guitar I ever played. I am most partial to ebony fret boards for their enhanced articulation, the same for neck thru construction. Most of these differences seem to me to be most easily discerned when playing clean, the more you turn up the gain and clip a guitar signal the more they all sound the same to me.posted on November 9, 2013 at 12:59 pm
very,very well put!!posted on November 9, 2013 at 1:13 pm
I much prefer the wood I get in my pants when I see Kaitlynn walking thru the restaurant on a Friday night shift. Swiiiinnnnnnng!posted on November 9, 2013 at 2:11 pm
I love the discussion about tonewoods when it pertains to Electric Guitars. Not because of the many varying opinions on which is the best. But, because so many people fall for the falicy of wood having ANY effect on an electric guitar's tone. I could be wrong but I think this myth started a long time ago when all Guitars were acoustic. While I do believe that wood has a definite impact on acoustic guitars. So the mindset of guitars having "Tonewoods" was carried over to the newly emerging "Electric" Guitars. There is so much proof available on the internet to prove that wood has absolutely NO bearing on a Guitar's tone. People will often dismiss this because they have been "Brainwashed" into believing it to be true. I have even heard people who otherwise seem rational. Try to argue that a Guitar's inlays on the Fretboard can effect tone. I saw a video on Youtube where a guy fretted a note with no inlay and one with an inlay. He then stated well this one is warm and this one is not. WRONG, they were just two different notes. So people please stop it with the BS that wood effects tone. If you need proof go to Youtube and look for a guy named Groovydjs. He will show you the Light.posted on November 9, 2013 at 3:01 pm
William, you must be playing a jap strat on a modeling amp if you are being serious. Please explain to me how I get a brighter tone out of my Les Paul with a maple top than the one that's solid mahogany?posted on November 9, 2013 at 4:20 pm
Once the guitar is plugged in, wood barely has any impact in tone whatsoever, except maybe in hollowbody guitars just because of the nature of it. It's the pickups, the scale length and the way the strings are attached to the body the things that make noticeable differences. Wood may be expensive (for instance, the wood Gibson chooses against the one Epiphone gets) because of its looks or light weight. But wood is wood, and there is no possible reason that a pile of wood produces better tone than other, you corksniffers.
Then again, IMHO.posted on November 9, 2013 at 5:58 pm
Slick: Are you serious, resorting to insults because I speak the TRUTH. If you get a brighter tone from one guitar over another. There are plenty of other factors. Gibson's standards are not that good. Look at their standards for their electronics. There pots could be rated 250 . But that is with a +or - of 15. I bet if you swapped out all the electronics including wiring from one guitar to another you will see the tone change will follow the electronics. Oh and just so you know my main guitar is an American Strat and I usually play thru my Fender DRRiposted on November 9, 2013 at 6:12 pm
There's also proof on the Internet that moon-landing never happened, 9/11 was a hoax and Octo-mom did it naturally. Doesn't mean its true. You play your Strat through your amp and then try a custom Strat with a mahogany body with all the same hardware and tell me you don't hear a difference. By the way, I've done this and I own Strats of different composition and they all get a little different tone By the way scale length has an effect on tone as well. ...but ...an argument for another day!posted on November 9, 2013 at 7:51 pm
I always find the solid bodied guitars that actually resonate when strummed always sounds sweet amplified. It's the pickups job to convey this through the amp, that's when you really tell the difference between a good pickup and a bad one. This leads me to try all the Squier and Epiphone guitars and then do a pickup change for big savings…posted on November 9, 2013 at 8:07 pm
Lots of raw nerves out there, as usual. :0)
When it comes to electric solid-bodied guitars experience has taught me that for the style and sound which interests me (which is clean, with maybe a bit of valve compression) production-line instruments which should sound similar actually vary noticeably. I would always go for the one which sounds best acoustically - the best Fenders in particular having some really rich-sounding, long-sustaining qualities. When I was younger and more dazzled by looks I fell for a '78 Sunburst Maple-Neck Strat, which looked the full Buddy Holly, but which never, ever sounded anything other than disappointing through an amp, no matter what I did to mod it. It was a heavy, ash-bodied model, and back then I just thought they probably all sounded thin until you plugged in.
I was wrong. I now have both Teles and Strats which sound alive in my hands even before I plug them in - and when I do they just sing. So I do believe the wood plays a role, but maybe the success of the neck/body combination rather than purely the body timber. Ultimately, forget your brain-baggage and let your ears do the listening…posted on November 9, 2013 at 8:25 pm
@Triad99: what ever helps you sleep at night. If you want to own a bunch of unnecessary guitars simply because you are an enthusiast that's fine by me, but don't go claiming "tonal differences" from almost identical guitars(same scale length, bolt on neck, virtually identical electronics, ect.) The pickups are picking up the frequencies of the vibrating strings regardless if its made of of mahogany or maple or anything. "Tone Woods" on solid body electric guitars are a marketing ploy, congratulations you are an idiot.posted on November 9, 2013 at 8:28 pm
Seems to me the only way you could make the assertion that two guitars with different woods sound differently due to the wood composition, would be to use the same electronics in both guitars. Seems to me that a Gibson Les Paul solid Mahogany / Maple guitar might also have a better grade pickup and components. I would think that were I making a cheaper copy of the same guitar, I would use cheaper electronics ,possibly 20% parts vs 5% parts. I won't get into pickup technology. I cannot comment on the variation in woods, but it seems to me cheaper begets cheaper and as such a tone difference otherwise we'd all be playing Squiers.posted on November 9, 2013 at 8:48 pm
Wow Tony, ...so angry. Must have hit a sore spot, or do you always descend to name calling when you are upset? Look if you can't hear the difference in the woods an wood combinations then good for you, your sound will always be the same. But there is a reason reputable builders have used different woods and wood combinations for decades to achieve a different sound than their contemporaries. Yes, everything else contributes but there is a reason that a Les Paul will not sound the same as a Strat or an RG with the same electronics. And yes you can put pick ups on a 2X4 (and guys have done it) and get a tone also clear plexiglas as well as a dozen others including aluminum. But just getting a sound and the subtle nuances of good tone are two different animals. So do me a favor dude, if you want to have a discussion lets have one, if you want to call names because you are frustrated, angry or just not experienced enough to disagree with someone pleasantly, then please keep it to yourself.posted on November 9, 2013 at 8:49 pm
That comment aimed at me? If so, you've just missed the point completely, which, to spell it out for you amounted to:
Forget what you think it should be about, and instead go and try several identical-looking instruments acoustically, then plug them into a clean-sounding amp to judge for yourself the differences. If you want to talk about marketing ploys then maybe direct you venom at the lucrative market in pedals. Me, I keep it minimal, and let the tone of the guitar come through.
And I'm prepared to listened to the reasoned/reasonable thoughts of others.posted on November 9, 2013 at 9:02 pm
My response was directed at Mr Angry, obviously - just got posted after others contributed…posted on November 9, 2013 at 9:05 pm
Its addressed to Tony, Roger.posted on November 9, 2013 at 9:13 pm
I'm with William. After playing so many guitars and consulting with more than a dozen luthiers, I'm convinced that guitar woods (body or neck or fingerboard) have nothing to do with the tone one extracts from his instrument. Tone has to do with strings, tune machines, frets, bridge, how all metal parts are built and put together, and the way one plays. A long time ago I started to choose my guitars with that in mind and tried to improve my playing.posted on November 9, 2013 at 9:19 pm
Triad999, you suck balls brah. Quit gaying off in here man, do it somewhere else.posted on November 9, 2013 at 11:23 pm
I used to buy, play and build heavy guitars and basses. One year, I built a "solid body acoustic" around a Fishman pickup, and wanted a lightweight body that didn't sustain well, to cop more of an acoustic response. I used Aspen, a type of poplar and made a LP shaped body. I was surprised with this lightweight wood had tremendous sustain. Now, my builds and personal instruments are quite light, but all sustain as well as resonate well. Age and arthritis drove me to lighter instruments, and I've learned a lot.posted on November 10, 2013 at 12:32 am
@ ChopItUpBuryIt Hah ....you funnyposted on November 10, 2013 at 1:05 am
Great topic. I also think that amp volume and venue size play important roles in the value of the weight of the guitar on the overall tone. I used to have a 12 pound Les Paul that always sounded dull at bedroom levels, but when plugged into a large cranked tube amp in a decent size room it just screamed. Conversely, I've also noticed how lighter guitars (e.g., single-coil semi-hollow) don't project out into the audience at large venues as well as a heavier guitar and can get lost in the mix easier, but add lots of space and depth to a small to medium size venue.posted on November 10, 2013 at 2:16 am
Well I'd say all tones are good it depends on what your looking for in the guitar.posted on November 10, 2013 at 5:00 am
We all have opinions and are free to have them. Please, let us not throw them at others. I am a bass player and have restored and modified all my basses. They all have DiMarzio P-Bass pickups and control pots, Badass bridges and the same spool of double insulated wire was used on all my electric basses. My 1974 Gibson EB3L definitely sounds deeper, more resonant and has more sustain than my 1970's Ibanes Gibson style flying V. My brother can not use the same pickups, to his frustration, in his strats as his Jackson flying V's. I must admit, that most guitarists use so many effects, they could be playing a uke and it would sound similar to a 50's Gibson, but it will not sound identical, nor will you have the same sustain etc.posted on November 10, 2013 at 6:14 am
My Line 6 Variax 5 string is my main bass. It was almost 13 lbs. After it got seriously damaged in a truck accident, I decided to chamber the body as I fixed it. I took almost 4 lbs of wood from it.
There has been no change in sustain, or resonance. I am thrilled with the result. I did switch to a Slinger Waist strap to deal with the weight and my arthritic neck and shoulders and with the weight reduction, it's a great bass.
I plan on chambering my favorite LP next. It is heavy, extremely at the butt end. It now balances poorly on my lap.posted on November 10, 2013 at 6:53 am
I play an eleven pound solid mahogany Hagstrom Swede from the seventies. She still sings to me after 39 years ....posted on November 10, 2013 at 10:12 am
Wood makes no difference to the tone of an electric guitar once pluged in.
The folks who make high end guitars are there to make money. If they can charge you $5000 for a lump of wood, however pretty, that they paid $50 for and you are happy to pay that then more power to you and the maker. That is your choice.
High end pots cost about $5 each. A few turns of copper wire around a magnet costs about $10 including labour. Wire gauge and ammount of turns make a difference. Nobody "hand wires" pickups. You are mostly paying for a name. All these statements can be proved with a little research.
I could go on. I have been a guitarist for over 50 years, but still have a lot to learn. But I do know this, just because it has a well known name on the headstock is no guarantee of quality.posted on November 11, 2013 at 12:38 am
Gloryblues, you are spot on. The myth that wood has an effect on tone with respect to Electric Guitars is a lie that has been told to so many guitar players by the "Big Guitar Manufacturers" The people who buy these "Overpriced Guitars' Have to find a way to justify spending so much for so little. In my experience the Les Paul owners are the worst. I own several Electric Guitars. 1 Squier Telecaster, 4 Fender Stratocasters and 1 Gibson Les Paul. To be honest I have no clue why I own the LP. When I bought it I thought it would be cool to own an LP. But to be painfully honest, I vary seldom play it. The tone SUCKS it is a pain in the ass to play. But above all the more I play it the more I realize it is built very shabbily. The quality to which they are built, to say the least is questionable. If you were to compare a 1959 Les Paul to a 1959 Strat you will see the Strat is noticeably in better condition than the LP. I think this in large part to Gibson's low standards in production. They have always tried to justify the value of their guitars by using "Exotic Woods" to which I say BS. Any wood you use on an electric is going to sound the same. Your chain is first your fingers, strings, pickups, cables, effects (if used) and last your amp. Where is wood in that equation? Nowhere, it DOES NOT MATTER!posted on November 11, 2013 at 8:29 am
For me, unless I can play seated, lighter is better. My back is out-of-whack, it's purely a physical thing, in my case.
As far as tone goes, I think that any guitar is the sum of all it's attributes; wood species, density, finish, strings, frets, weight, pickups, build quality…. on and on, if only infinitesimally, each attribute contributes to the sound that comes out of the instrument. The player contributes to the sonic product, by way of technique and personal audio preferences, also. The appreciation of any instrument's good (or bad), tone is a very subjective thing.
Light, medium or heavy weight; I've played good, bad and mediocre examples of each. Unless the setup is horribly bad, I've had little trouble getting engaging sounds out of most any of the rigs that I've ever played. Some better or worse than others… for sure. I'm still looking for my "Holy Grail" guitar. I hope that it is light-weight, when, and if I ever find it. Tempis fugit.posted on November 11, 2013 at 1:45 pm
I laugh when people say that nothing makes a difference….wood, pickups, weight etc etc. Maybe you have tin ears. Play your $100 Cort while the rest of us appreciate the finer things.posted on November 11, 2013 at 2:25 pm
Some people are just dense. Everything about a guitar has an effect on tone. With the exception to WOOD. So if wood has no effect than the weight of the wood has no effect. Someone prove me wrong. I will prove I am right.posted on November 11, 2013 at 3:20 pm
I am not the only one! http://www.youtube.com/watch?v=Rtnx-gnMrTQposted on November 11, 2013 at 4:12 pm
Yes William, Scott does go on a bit. However, what he says is true and as he says, has been proven many times over. Still the faithful believe thr crap they are fed. I myself used to be one of the faithful who worshiped at the altar of Gibson. I have been playing gigs since 1962. I always wanted a 335 but could never come up with the cash. Anyway, I have now retired from "proper" work and took £2500 off around the music shops looking for a ES335. Finally came home with an Epiphone Dot in Natural finish and still had £2300 in my pocket. I have to put a little time into the Dot and maybe about £100, but I will then have a guitar that is actually better, but not much, than any of the Gibsons I tried. Here's another thought, all collectors talk in terms of re-sale value. Scott Grove openly and unashamedly talks in terms of how much he can buy a guitar for and then re-sell it at a profit. This means that there are lots of rich folks out there who are willing to buy an average guitar for hugh ammounts of cash. That's their choice, and their right. Me, I like my cash in a tin under the bed where I gan keep it warm and count it every day…posted on November 11, 2013 at 9:28 pm
Note to self…
Learn to type.posted on November 11, 2013 at 9:30 pm
The odd rant aside, this as turned out to be a very interesting dialogue, with some great input.
Could I just add the a comment that awhile back I picked up a cheap (as in Ebay-cheap) Squier CV50s BB Tele - hardly a snob-value instrument. Normally I'd never buy any guitar without sitting down and playing it first, but I needed a back-up guitar fast, and I'd never seen a less than glowing review from those who had got one of these. Yep; pine body, not classy swamp-ash - but then so were Fender's first Broadcasters - but it had a quarter-sawn maple neck. The luck of the draw, obviously.
It just rings like a bell acoustically, and does the same when amplified clean, the way I play most of the time.
My point? Given that PUs can be microphonic to a degree, the sustain, etc., must surely be affected by the resonance of the wood (even humble pine) on something plank-like, which I think we'd agree a non-thinline Tele certainly is. Not being preachy about this - just a thought I toss into the discussion, for others' thoughts. Oh, and I first picked up a guitar in 1959…posted on November 11, 2013 at 10:15 pm
I am so glad to read that a good number of people here agree with me wood makes an insignificant difference. Does it make any difference? Sure, it might a little bit of difference. But does that mean lighter woods or tonewoods (which, to me, only means something on acoustic guitars) sound better? Heck no! Two differently constructed guitars (with the same electronics and strings) might sound a little different from each other. But I think there is a 50/50 chance the $200 guitar will sound better that a $2000 guitar (again, with the same electronics).
What do you get with a more expensive guitar? Higher quality parts, a better paint job, maybe a prettier piece of wood, possibly a more stable neck and better fret work. You get a nicer looking, more unique and more playable instrument.That's GREAT. But does the piece of wood make a difference? I think not.
Don't get me started on Poly Vs Nitro Vs thin skin and rosewood vs maple fretboards. I don't think they effect the sound either.posted on November 12, 2013 at 6:07 am
I think that Joe Kess has a point here—by paying more one would probably get a better instrument. That is precisely where the buying skills (if any) would come handy: how to pay less for a good guitar. And those skills would include not paying any attention to "tone woods" and other similar "used cars salesman" stories.posted on November 12, 2013 at 6:38 am
Take three pieces of wood, the same size, lets say oak, maple and walnut. Those are all something everyone can get I think. Now hit each one with a drumstick. You will get a different sound out of each one because of different densities.
Now can you honestly say that with a good set of pickups and a clear tube amp that difference is not going to show up?
It's a lot of the reason why a strat sounds like a strat, a tele sounds like a tele and a lp sounds like a lp..
If you can't tell the difference between them just by sound, you need to fine tune your ear.posted on November 12, 2013 at 2:00 pm
@SLick, I don't think anyone here is denying different woods have different sounds, but you don't play an electric guitar by hitting it with a drumstick. The metal strings vibrate, the pickups pickup the frequencies, the amplifier amplifies them. That is an extremely simplified example, but none the less wood plays no role in it. Sure if there were 3 identical acoustic guitars; 1 oak, 1 maple, 1 walnut they would have tonal differences, but that's a different story. Maybe if you spent less time "fine tuning" your ear and more time looking at things from a logical perspective you would understand this.posted on November 12, 2013 at 9:15 pm
I agree that exotic timbers might look fancy but I don't buy into 'tonewood' marketing claims for solids. That said, if the timber (and ) can affect the impression of 'liveliness' - meaning at least the sustain of the strings - then logically those livelier string movements will be reproduced by the purely-electronic chain of PU+amp. I have a pine-bodied Tele and an alder-bodied one; the first feels much more responsive and sustains better, whether the amp's on or off. Both are maple-necks, have brass-saddle ashtray bridges and the same string sets. Nice titght neck/body fits, too.
Intrigued by this.posted on November 12, 2013 at 9:53 pm
@Tony- Your pickups don't just catch the vibrations of the strings they pick up the vibrations of the guitar also. When you play one unplugged and you can hear the wood resonate, that is amplified too when it is plugged in.
I asked earlier and no one has answered yet. If wood has no bearing on sound why does my LP with a solid mahogany body have a much darker tone than the one with a maple top? Same strings, same pickups, same amp.posted on November 14, 2013 at 7:47 am
Slick, It is impossible for a Guitar's pickup to catch the vibrations of the Wood. A guitar pickup just does not work that way. A pickup is a magnet that reacts to the metal strings vibrating above it. As far as your LP having a darker tone because of it's mahogany body. It's like the scientist with a preconceived notion on how an experiment will work out and than going about to prove it. If you have it already in your head that the tone is darker than that is what you hear. I have seen videos on the net where someone will try to prove this theory. He'll say that his tone is darker and then play something on 2 guitars and say 'Did you hear that,guitar X is Darker" and to someone listening there is NO difference. Just open your ears to the possibility that wood is not involved in tone as it relates to Electric Guitarsposted on November 14, 2013 at 9:27 am
All the materials used in a guitar have an effect on the vibrations of a string. The woods used, the mass of the tuners, the mass of the truss rod, the type of bridge, and it's mass and construction, the way the strings are anchored…it all affects the attack, sustain and decay of a note. Some woods are resonant and in it's passing of sustain, enhances some notes, and absorbs others. Very hard woods enhance sustain. Softer woods absorb more. Oily woods can mute sustain.
My 68 Tele used very light ash. It had a thick, thick, very hard poly finish that was coming off in quarter sized chunks. I removed the finish with a router, as stripper and sandpaper didn't touch it, and heat guns were not yet available. The sustain went from very good, to sustaining like a banjo…just a sort of dead, plunk, plunk.
I routed out the back of the guitar to inlay a 1/4" thick, 3" wide piece of brass. The neck bolted through one end and the strings anchored in the other. It added 2.5 lbs to the light guitar.
Sustain after adding the brass piece exceeded my Les Paul Custom, with bell like qualities to the tone.
Most of my basses are quite heavy with lots of sustain. I have a fairly lightweight basswood bass, with a hard poly finish that resonates so much I can feel the vibrations on my belly when playing. While it doesn't sustain like the others, I love it's qualities.
Wood does make a difference. If it didn't we might as well mold guitars out of plastic, like kayaks and call it a day.posted on November 14, 2013 at 10:27 am
William, Actually when I got the one with a maple top I didn't realize they had a different construction (the solid mahogany is painted). I wondered why one was a couple pounds heavier and sounded darker so I did some research.
To you guys that say wood has no bearing, I'm curious to know what you are playing, what style you are playing and what you are playing through.posted on November 15, 2013 at 8:12 am
Tin-eared guitar buyers are good for our economy, and America; as are people who think the food at those all-you-can-eat joints is just as good as regular restaurants: they provide jobs for the makers and sellers of crap. Some people also really like trailer court living and we should all defend their right to trash talk! Stradivarius probably had nay-sayers in his day.posted on November 15, 2013 at 12:34 pm
>> Wood does make a difference. If it didn't we might as well mold guitars out of plastic, like kayaks and call it a day.
A Dan Armstrong is made of plastic and sounds just fine. Yesterday, I looked online (tdpri.com) at reviews of the older aluminum bodied Stratocasters. Owners said they sound ... like Stratocasters. Maybe the body makes little difference.
Also, Strats have a giant piece of plastic on the bodies and under the strings. If materials made a difference (like rosewood vs maple fretboards), you would see wooden pickguards. The plastic, i propose, doesn't change the tone.
>> (Wood) It's a lot of the reason why a strat sounds like a strat, a tele sounds like a tele and a lp sounds like a lp..
Actually, I think the biggest reasons are 1) scale length and 2) pickups.posted on November 15, 2013 at 2:31 pm
The density and shape of the instrument design have a significant effect on the resonance and sustain of an electric played clean at lower volume. When you crank it up and start altering the signal, the overtones become less discernable and eventually disappear. That said, it's the sum of the design features that provide each instrument with it's unique voice. That includes pickups, scale length, nut material, etc.posted on November 19, 2013 at 9:04 am
The shape!!! the SHAPE??? Sorry Tom but no, shape has absoutely no effect on the tone.
I would suggest that you are correct with pick-ups and certainly scale length, nut material? maybe, strummed open strings and not pluged in. Add to that the shape and size of the venue makes a huge difference, also the size of the crowd, quality of the PA (if miked up). So many variables come into play but really, what an ELECTRIC guitar is made of and the shape it is made in have not much to do with what it sounds like plugged in.posted on November 19, 2013 at 7:23 pm
I have heard some wild crap about guitars, but the SHAPE? Are you F'ing kidding me. I am not going to make another post about this subject, but. An Electric guitar's tone is effected by the strings, string length, wiring, pots and pickups. That is it case closed. Wood, it's density, it's weight or SHAPE mean NOTHING, I read somewhere that the people at Gibson who design guitars have stated this also.posted on November 19, 2013 at 7:35 pm
Much is said about this subject; my point is that everything matters. One of the first things you should do when you're about to buy a new guitar is to try how it sounds unplugged. If the acoustic sound is nice there's a good chance that the instrument sounds great when plugged in. There's nothing magical about wood and with the right physical characteristics other material also would work just as well. But still, the properties of the material that's used will affect the sound, wood or not. And since different wood has different properties it will make a change.
Why for example there aren't guitars made of birch (I haven't heard about anyone anyway)? Still birch is a tone wood sometimes used in drums. Birch is said to give a faster attack on drums than maple. Maple on the other hand I supposed to give a hard and fast attack on a solid guitar and beside its heavy weight that's the reason why you rarely find whole guitar bodies entirely is made of maple. So far I know there's more usual with basses made of solid maple, to take advantage of its clear sound. How would a guitar made of birch sound? Probably like a banjo. A last comparison to drums; some drummers prefer acrylic, so wood in itself isn't necessary.
Birch plywood is sometimes said to be the best material for guitar cabinets. A common speaker both in expensive brand cabinets and in rather inexpensive cabinets is for example Celestion Vintage 30. So for those who don't think that material and build method matters there is a lot of money to save when buying a cabinet, just look for the speaker that you want.
How many ways is there to pick a guitar string? There are endless examples when a guitar sounds completely different when one guitarist hands it over to another guitarist, and I bet that you can hear difference from a guitarist to another just on the sound when they pick open strings. So why shouldn't the wood matter, when the subtle circumstance makes difference; how the string accelerates when picked? In the end all come together, the hardware, the pickups, the strings, the material of the instrument (what kind of wood or no wood at all) and the guitarist. Everything together is forming the sound, sweet or bad. At the end of the day you should buy the guitar that sounds best in your hands and that's serves your purpose, so in that perspective you just can forget what wood the guitar is made of. But still; the kind of wood that's used will have an influence on the guitars tone!posted on November 24, 2013 at 1:57 am
William T Branch says, "Slick, It is impossible for a Guitar's pickup to catch the vibrations of the Wood. A guitar pickup just does not work that way. A pickup is a magnet that reacts to the metal strings vibrating above it."
The wood affects HOW the strings vibrate. If I had a tail piece and bridge and I installed them in a slab of concrete 1 11/16 wide and 24 3/4 long, using an ivory nut with a humbucker at a normal location, neck or bridge, it will sound sound horrible.
Funny your claims of a guitar maker stating something so utterly outrageous, but are "mysteriously" unable to produce said material.
Attention seeking behaviour went out of vogue in the 80s….posted on November 29, 2013 at 9:23 am
Ketch there is no mystery behind my assertion of the lack of any effect on a guitar's tone. In regards to the woods used. The internet is loaded with sites that have scientifically proven this statement to be true. Most of the people who believe the myth of toe woods are people who have been duped into spending way too much money. Think about this, if my statement is true you could buy the cheapest Epiphone Les Paul (about $200) change the pickups and have a Les Paul that sounds like a $5000 guitar. Most people will then have to admit they were robbed. I think that most people (mainly because of pride) will have a hard time admitting this. After all who wants to say they were conned. I once saw a guitar on youtube made of Concrete. Tell me why this guitar sounded good.posted on November 29, 2013 at 1:29 pm
Do you honestly believe your gibberish? I have owned both, complete with rewiring and upgraded electronics/ hardware that their indisputably a difference in tone.
Regardless, enjoy your bedroom playing…posted on November 29, 2013 at 8:00 pm
Lol, Ketch is totally butt hurt. I agree with William, its a pride thing. Anyone who spends $5000 on a guitar made of exotic wood is obviously going to promote the idea that it has some special magical tone to it that cant be explained through logic and reason.
Regardless, enjoy being raped in the ass by marketing schemes…posted on November 30, 2013 at 8:54 am
Yeah Tony I believe you are right about Ketch, I bet he only plays LP's. It seems to me that people who play Gibsons especially Les Pauls are the ones who get the angriest. So let me make sure I got this right. You just changed the electronics and that is the proof you need. Forget the fact that Gibson's tolerances for their electronics are big enough to drive a semi through. A pot can be listed as 250 k, but the tolerances allow 230-270. Well if you start with 230 and change to a 270 I bet it will sound different. Not to mention the pickups. If you ignore preconceived ideology and think linear. The truth is all there. I never had any preconceived ideas about tone and wood in regards to Solid Bodies. So when I read about the Myth of Tonewoods I had nothing to fight. In other words I did not have a dog in the fight. But someone who paid 5000 for a 500 guitar is quick to believe the myths. I must have struck a nerve, why else would someone have the need to insult me and my ideas. Seems to me the LP boys are the quickest to insults. Strat MEN just let it go.posted on November 30, 2013 at 9:15 am
Ketch is right. The wood used does affect all aspects of a string's characteristics. The wood used affects the attack, sustain, envelope and decay of the strings, and all this is sensed by the pickup.
I owned a plexiglass Dan Armstrong Ampeg, and it was a great guitar. It did have a conventional wood neck, maple with a rosewood fingerboard. I replace the wood saddle with a brass one I fashioned and the improvement in attack and sustain was great.
I do disagree with Ketch on one item. A guitar made of concrete might sound great. I can't imagine the neck would be very friendly to the installation of frets, and would be too easy to break.
I played an Ibanez Artist (double cutaway Les Paul type guitar) at the '83 NAMM show. It was made of solid brass….neck and body. It weighed 75lbs. It was made as a joke responding to the brass craze of that era. It was a one off, made and displayed as a joke, but people tried to order them, unsuccessfully. BTW it sounded glorious but cut off the circulation to my right leg after a minute of playing it on my lap.
I have a Washburn 5 string I converted to a fretless. I replaced the fingerboard with a bubinga board, and changed the scale from 34" to 35". The body was plywood.
Years later, I made a mahogony body for it. The scale, shape, size and all the electronics and hardware stayed the same (EMG Jazz pickups, two preamps)
The improvement over the plywood body was subtle but definite. Former dead spots on the neck were far less. The notes had a beautiful bloom the plywood body didn't produce.
I have a set neck Epi Flying V that is a fine guitar and it also has a plywood body. I have played Korina (an African type of mahogony) Epiphone V's that were lighter, livelier and brighter than my plywood one. But I love mine. I may someday replace the body with mahogony if I can find some lighter wood. I'll bleach the mahogony to match the Korina look.
Wood matters. I have a set neck, mahogony body, maple top LP knockoff…a Mako from the 80's. I also have a 1986 Les Paul Standard. With the same pickups in each guitar, the Mako is great, but it ain't a Les Paul. There are things I do like about it over the Gibson though.posted on December 1, 2013 at 8:59 am
Why do you think wood matters? I mean why scientifically as opposed to what we've been led to believe over the years?
I, based on common thinking, was wondering if wood could make any kind of notable contribution to overtones in the way a string vibrates or on its sustain. So I tri3ed a few simple experiments. I laid my hand gently across the strings above the nut and (on guitars where possible) below the bridge. If the wood made a difference, touching the strings like this and in these positions seems like it would make more of a difference than any vibrations coming from the wood. So would pressing or squeezing the guitar body (to reduce vibrations) which I tried too. In no case dis this effect the tone.
Thus I think a concrete guitar would sound just fine (obviously though, guitar and neck materials make some difference in that they need to structurally preserve the string length when the strings is plucked. A balsa wood guitar might loose sustain this way.
A poster said it is important to play a new electric guitar unplugged before before buying. I think that is old thinking that this thread, in a very small way, may help to change. Trying one unplugged, I suggest, only tells you how it will sound unplugged. I like the test though since I often play unplugged. (My ES335 and ES125T both sound lousy unplugged but are damn nice amplified.)
So why make (or why were the earliest) electric guitars constructed with wood bodies? Perhaps to look like traditional instruments. Also they are nice looking, hold paint colors, are relatively inexpensive to make (supplies and forming) and they are light weight. Why alder or ash (in the case of Fenders) and not birch? Alder and ash were cheaper and more readily available at the Fender factory. I propose that if other wood stocks took a finish well, were inexpensive to buy and shape, that the would sound the same as any other guitar.
Unless some one can make a factual case, I don't believe that what happens behind the nut or past the bridge makes any difference in an otherwise reasonably constructed guitar.
Iposted on December 1, 2013 at 10:53 am
>> I don't believe that what happens behind the nut or past the bridge makes any difference in an otherwise reasonably constructed guitar.
I am referring to the neck and body. Electronics obviously contribute greatly!posted on December 1, 2013 at 10:56 am
" I don't believe that what happens behind the nut or past the bridge makes any difference in an otherwise reasonably constructed guitar."
Not true. The mass of the tuning pegs and the mass and material the bridge is made of AND how the strings are anchored all make a difference. One can simply change the mass of the headstock with something like Aspen Pittman's "Fat Finger" or a small C clamp and the tone and sustain will be affected. I tried our worship leader's Fat Finger on one of my builds and was pleased at the change.
Even the material the bridge and saddles are made of make a difference. Ask any Tele owner who has experimented with brass, aluminum, titanium, steel or Graphtech saddles.
No offense, but some of you folks need your hearing checked.posted on December 1, 2013 at 11:19 am
Offence intended…you are an idiot'-'posted on December 1, 2013 at 12:03 pm
Wow! The Flat Earth society would be proud of some of these comments. The mythology of Tonewood in regards to Solid Body Guitars is astonishing. But what really takes the cake is the level of insults aimed at anyone whose mind is in the 21st century. So all here who believe wood makes a difference, I have one more thing to say. The World is indeed ROUND, Bleeding will cure no disease, Witches do not exist, and Man did indeed land on the moon in 1969. Just thought I would clear that up for those who are still living in the 19th century.posted on December 1, 2013 at 2:04 pm
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>> ...Aspen Pittman's "Fat Finger" or a small C clamp and the tone and sustain will be affected.
Hmmm. If I heard that, and I am willing to try this, it would change my thinking a bit. On the other hand, this may be more snake oil.
Fender sell a version and says it will "it will enhance the overall tone and note-to-note response of any electric or acoustic guitar." If that were true, wouldn't pro's use these? I have yet to see one. If it were true, wouldn't Fender and other guitar companies include a Fat Finger (or added mass in another way) with their high end models? If they added sustain REALLY and enhanced tone, I think at least one Master Builder would surely include them from the factory.
The first reviewer on their site says: "It helps a little with my taylor for sustain but my tele sounds the same with or without this on it so i wasted my money on this thing"
I think we all agree that everything makes a difference on acoustic guitars. We are debating whether magnetic pickups can detect tone changes from different woods.posted on December 4, 2013 at 1:27 am
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Well, since the pickups picks up the vibrations of the strings, and the strings vaibrations travle to the rest of the guitar, depending on wich materials the guitar is made of the vibrations to travle from the rest of the guitar back to the strings and in to the pickups would be different. Then again, if a human ear can hear it is an other subjuect, but it physicly does affect the vibrations.
I have never tried this for real but now im tempted to buy two different cheap guitars and put the exact same (cheap) mecanics in it just to try!posted on June 12, 2014 at 12:48 pm
In my opinion, and i'm no expert, I believe that hardware makes the most difference to a solid body's tone. I have had a number of strats including my favorite, 1989 strat plus, that has a metal wilkinson nut and good solid bridge. Loads of chime and sustain before even turning the amp on. Others I have modded with brass nuts with similar results. I agree with others, if it sounds good acoustically then it should sound good through an amp. Pickups also make a huge difference obviously.posted on September 27, 2014 at 3:34 pm
I wanted to add into the discussion a discovery I made at the guitar shop one day. On the counter was a "Goerge L" cable dispenser and box of 1/4" plugs. You cut the cord the length you needed, then connected the plug ins. My SG needed a right angle, which was available. Goerge L buyers claimed "These cables will make it seem like a blanket was lifted off of your amplifier." Very true, there was a very noticeable change in clarity and improved tone with those cables. (Another variable) I know the discussion is about the wood in the body and I will share from my experience building 5 guitars. The greater mass in the body increased sustain and depth in the tone. That is comparing a light slim Mahogany body with a thick large Black Korina body. The loss in mass made it "less than" the greater mass body. What I noticed makes the biggest difference is joints connecting parts (no gap) and well filed string grooves (nut & bridge) and the alloy the parts were made of. (steel vs pot metal). example: Wilkinson stop bar tail piece vs easily corroding cheap plated part.posted on October 17, 2014 at 1:40 pm
I'm afraid that William and others, (such as Leo Fender) are right. On solid body guitars, where you are referring to laminated bodies with bolted on necks, the choice of wood is not really of any consequence. The only tiny difference would be between soft woods and hardwoods, but even then compared to the sound of the pickups, there is no real discernible difference.
However there is a very good reason for this - and it is not to do with the wood itself, but with the lamination techniques themselves and can be easily explained by using a couple of simple analogies to prove that what I am saying really is not rocket science, but rather just simple common sense.
Let's imagine two kids playing in the garden. They have rigged up a long string with plastic cups attached at either end and they are amazed that they can actually hear each other speaking through the cups! It's great fun! Then the "Blue Meany" comes along and snatches their string and cups off them to ruin their game. He cuts the string in three (or more) different places and even runs off with a couple of pieces. In tears they go running into the house and explain to their Mum what has happened. Their Mum has no more string at that length, so she cobbles together some different pieces, sizes and knots them together to make up the length. A couple of the pieces are even made from different material altogether, but that is all she has. They go into the garden to try to resume their game - but they can hear NOTHING at all.
In case that analogy is not yet working for you, then try to imagine this. Get a nice round bar of steel, hang it on a wire and hit it with anything you like. Produces a nice clear strong, resonating note doesn't it? Ok, so now go and get a couple of other bars of a different kind of round steel (different alloy) and even a different circumference and maybe to start with glue those pieces together (Gibson guitars neck joint) to make the same length. Hang it up again and hit it. What do you reckon you'll get for a sound? Well at best a kind of muffled dull, distant, load of nonsense. Ok that didn't work at all, so lets unglue those pieces, drill holes in them and try to bolt them together instead (all other guitars and Fender's neck joint) What do you get this time? More of the same.
So you have probably guessed by now that my background has something to do with acoustics? Well you would be right: designing and building recording studios and music production, that kind of thing. In sound engineering and production most top end producers and engineers have a simple motto "Do no Harm". In other words they try to get the hell out of the way of a pure and unadulterated signal path as is possible. Unfortunately the way guitars have been made for the last 60 or so years (for economic seasons only) really gets badly in the way of getting anything at all out of a solid guitar body. Laminating all those different pieces of wood together in different directions and bolting or gluing a neck from yet another different piece of wood or multi-laminated pieces of wood is serving to kill any possible resonance stone dead.
Just in case you still don't believe this, then I will introduce a bit of home science. I recently bought a Mechanics Stethoscope – you know the type that mechanics use to listen to the sound of parts of the engine to see what's wrong with it? So I started placing the incredibly sensitive end of this stethoscope at loads of different parts of several solid body guitars. I tried the body all over, different parts of the neck and fretboard – even directly onto the base of the bridge. What I heard through the stethoscope was virtually nothing at all while the strings were being strummed. On one guitar there was one spot on the upper side about an inch in diameter where I heard a tiny bit of resonance and on another there was just one spot on the fretboard where I hear something at least, that was about it.
Don't believe me? They only cost a few dollars to buy – try one on you own guitar.posted on November 11, 2014 at 10:16 pm
Here is another observation I made playing an SG and it was unexpected. Seated in a chair, I played chords with the guitar balanced on my leg…then the same chords pulling the guitar as close and tightly to my body as possible. This changed the sound too. That was one variable I had not counted on. It was fuller sounding and sustained a little longer when held tightly close.posted on November 12, 2014 at 1:15 am
Wood is huge. Weight ,density, finish. Basswood, Alder, Hard ash, swamp ash. Basswood with maple tops. They all sound different. Each wood type has similar tones, the weight brings out certain characteristics of the individual woods.
I have built over 50 nice guitars with various woods. These are $500-$700 guitars. I have had 100 Alder Suhrs through the store and played them all. Same pickups, hardware, etc. They all sound different.posted on December 5, 2014 at 4:44 pm
Hi Dave, thanks for your comments which are interesting and important coming from a real-life practical standpoint. However, unfortunately you have probably reinforced my point for me and believe me I wish it were different, but the only difference is ever going to be from a guitar made from one complete piece of the same material ( no bolted on or glued on neck joint ) be it wood, carbon fiber, whatever and a guitar made from multilaminated/bolted together bits of wood/other material.
John Suhr makes claims that his pickups are "hand crafted". The fact is that just about every component from one pick-up to the next is likely to be different. Copper wire has quite a wide area of thickness tolerance in manufacture ( big differences), then it is often "scatter wound" for superior tone - a guarantee of randomness. The bobbins can be slightly different etc etc. yes you are absolutely right - no two pickups, let alone sets of pickups, will ever sound the same…..posted on December 5, 2014 at 9:42 pm
Yes. Pickups vary slightly. But these guitars all sounded different unplugged also. I imagine most people would not hear the difference. It is there.posted on December 8, 2014 at 4:28 pm
Boy, has this one rumbled on - and wound up a few people along the way, too.
It's been interesting and informative, but for me some things seem worth clarifying:
Yes, the signal from a pickup is purely electronic, but it nevertheless has its origins in a string vibrating.
The timber (or other material) on which that string is mounted will have its own resonant qualities, from almost dead-rigid to quite flexible, which must influence the vibration of the string. If not, then there would be no variation in natural/acoustic sustain.
If the body/neck materials cause variations in how the strings vibrate then the electronic signal generated by those vibrations will reproduce those variations.
I hope you guys see this as a constructive comment from a reasoned point of view - we're not fighting a war here..posted on December 8, 2014 at 7:37 pm
The pick-ups work by creating a magnetic field in the area where the strings are vibrating above. The strings disrupt that field as they vibrate and that in turn is then translated into an output to the amp. However there is a micro-phonic element to a pickup as well as we all know from tapping them or the guitar.
What I am saying is not really new. It was Leo Fender who said that the choice of material for his guitars was actually of no consequence and you could make the body out of pieces of plywood if you want, bolt on a neck, put strat pickups on it and it would sound like a strat. I seem to remember more than one adventurous person doing this somewhere along the way to prove his point. he new this because he also new - and admitted that the multi-laminated, bolt on neck guitars which he started making ( and by default have become the template for most guitars today) where designed not for "resonance" as many here like to believe, but for easy of manufacture and cheapness. The design is purely for manufacturing purposes and cost reasons only - not for tone or resonance
However yes the resonance of the wood does affect the tone of a solid body guitar - slightly (about 90% pickups / 10% body/neck) in this type of design. The reason why it is such a small amount is because the resonance is created in a second hand way through "sympathetic vibration", so it is small in percentage terms and woefully degraded in sonic terms. If I could explain. Take any material - and let's say wood, any wood. It has, as one piece of wood its own nice resonance and tonal properties. Some woods have a more musical, desirable resonance than others, granted. So If you get a plank of scaffolding wood and stretch some strings across it, it actually produces a big loud colourful sound. There are various youtube videos around of people demoing bridges etc.. where you can hear this for yourself. So that wood is producing a good tone and resonance and a good overall wide frequency response. Ok so get a piece of maple and bolt it on as tightly as you can. I'm afraid there is no magic wand you can wave and no magical scientific process that you can wish for which will change what happens. The softer scaffolding plank was vibrating a resonating wonderfully - that is until most of it got killed by the totally different properties of a totally different material "damping" it's resonance. So now you have one piece of wood actually fighting the resonance of another - not aiding it or causing some other wonderful magical effect! It's not even science - it's just plain old common sense. So the original piece of wood had a full frequency response and sounded great and the knew bolted-together-two-bits-of-wood piece has the characteristics of trying to resonate but being killed by the other piece and all the degradation that ensues in frequency response and tone. It one of these arguments where someone claims vociferously that black really can become white and I know many will hang on to that belief until their dying day, but unfortunately as with many things in life, the reality is something quite different. And I'm really sorry about that, I wish it were true myself!posted on December 8, 2014 at 8:15 pm
The best guitar in the world with the best sound, in the entire world is…........whatever sounds the best to you! We all hear sounds differently and that's what gives us all the beautiful music and different styles that we all love and enjoy and learn from. Enjoy your guitars, make beautiful music and agree to disagree guys!posted on February 16, 2015 at 12:39 am
Folks, as a music vet for bout 40 years now, I can tell you there IS a huge tonal difference in guitar body weight, fingerboard material, body wood, etc., as pertains to tone and sustain. HOWEVER, the other variables here, i.e., amp, pickups, string type n gauge, talent of musician, are just as or more important.
Bottom line is: the instrument doesn't make you…...YOU make the instrument. In MHO of course.
For the record, I prefer the sound of alder over all others, with a rock maple neck/fingerboard.
All the best, n keep rockin!posted on March 5, 2015 at 7:28 am
OK, folks, here's the deal.
Wood does have an effect on the sound of a plugged-in electric.
A very small one and definitely not one that should result in a flame war. But of course, this is guitarists debating, not physicists.
That two guitars sound different does NOT mean that one sounds better than the other.
Do a blind test with a Les Paul and Epiphone. There is not a single human being in the world capable of telling the difference. Just like there's not one able to tell difference between a Monster cable and a hanger (google the results of that experiment).
You can't cheat physics, you can't cheat physiology but you can cheat mind.
Which is why there is need no need for a $3000 Gibson in this universe to produce great guitar tone. Other than making money on one and boosting egos on the other side of the great market divide.
In the whole chain from your fingertips to the speaker's cone, the wood is the least important factor.
You can disagree but it's pretty much ALL you can do.posted on March 15, 2015 at 7:41 pm
Kris, all in all I think your comments are very fair. In fact you have managed to condense some good sense into couple of paragraphs - better then than I did in several more. I do have a tendency to waffle on! - so thanks. Jeremy J Lewisposted on March 15, 2015 at 8:03 pm
I built a strat with a maple body , CS54 pick-ups and a Mighty mite ebony neck. It was so shrill and trebly that it was unusable after trying everything else to cure it, I swapped the neck for a rosewood one. That cured it immediately.posted on April 17, 2015 at 4:16 pm


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Profess Your Undying Love With Taco Bell Promise Rings
A diamond is forever. Taco Bell rings are from Taco Bell.
For just $24.99 at the newly launched Live Más online store, you, too, can have these elegant and twisty fast-food-themed rings. And if that doesn't strike your fancy, you can just punish everyone on your holiday shopping list with inspirational Live Más–branded notebooks and foam taco hats. [Taco Bell via Brand Eating]


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How would the Shadow Field operate in regards to re-rolls?
My friend plays Dark Eldar, we recently had a game with several of us playing, and were divided on how Shadowfields function in regards to re-rolls.
In case you don't already know, a Dark Eldar Shadow Field confers a 2+ Invul to the bearer, which, if failed, dissipates and has no further effect.
I was of the opinion that, if you fail your save, but have a re-roll and pass said re-roll, for all intents and purposes you have "passed" the save, and the re-roll takes precedence over the previous roll, else you'd have taken a wound if you followed the logic that failing the save and passing it on a re-roll still counts as a failed save. Thus your 2+ Invul would remain, until at a later point you "failed" your save, both the initial roll and the re-roll, thus actually taking damage, which is at least lore-wise, and presumably rule-wise, what it takes to remove the effects of the Shadow Field.
Your interpretations/thoughts?


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Chronic exposure to an artificial butter flavoring ingredient, known as diacetyl, may worsen the harmful effects of a protein in the brain linked to Alzheimer's disease, according to a new study report in HealthDay.
Celebrate Your Health! LIKE BDO on Facebook!
Diacetyl is used to give a buttery taste and aroma to common food items such as margarines, snack foods, candy, baked goods, pet foods and other products.
The investigators pointed out that previous studies have already linked diacetyl to respiratory and other health problems among workers at microwave popcorn and food-flavoring plants.


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I simply love your works, they are awesome in all ways, motives, tecnique and composition. I distinctly remember I once have seen one of your pictures of a bicycling raccon-girl how trashes a passing bus with her claws, is that correct? Please continue to do your good work.
I know the pic you're talking about, but that wasn't mine, that was jesonite - jesonite.deviantart.com/art/AI…
Thanks very much, though!
Omg! I completely love your gallery!
Your art is awesome and beautiful! And all is in traditional! You are an osom inspiration!
your artwork is truly amazing <3 would you like to do an art trade with me?
All of your girls are so cute!!!! *hugs them softly*
do you take requests?


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October 19, 2013 | Vol. 94, No. 246
WAUPUN, Wis. — Lois Brewer, 91, of Waupun, died Wednesday, Oct. 16, 2013, at Marvin's Manor in Waupun where she resided for the past six years.
Lois was born Dec. 28, 1921, in Waupun, the daughter of Harry and Helen Hanisch Landaal. On Oct. 26, 1940, she married Leo Brewer in Waupun. The couple resided in Waupun until 1964, at which time they moved to Oshkosh. While residing in Oshkosh, Lois was employed in food service at Winnebago Mental Health Center. Lois and Leo enjoyed their retirement years at their cottage in northern Wisconsin and winters in Casa Grande, Ariz.
Lois is survived by her daughter, Louise (Daniel) Powell, of Phoenix; two sons, Gregory (Diane) Brewer, of Sebring, Fla., and Dean (Lynn) Brewer, of Waukesha; grandchildren; great-grandchildren; a sister, Karyl Van Den Hoek, of Waupun; and nieces and nephews.
Lois was preceded in death by her husband, Leo Brewer, in 2002; four sisters, Dorothy Edmunds, Ruth Beer Landaal, Ardis Yule and Bette Felsman.
A gathering of friends and relatives will be held on Tuesday, Oct. 22, 2013, at 1 p.m. at the Werner-Harmsen Funeral Home in Waupun. Graveside services will be held at 2 p.m. at Highland Memory Gardens in the town of Trenton, with Greg Nuernberg officiating.
In lieu of flowers, the family suggests memorials be directed to the American Diabetes Association at diabetes.org or P.O. Box 11454, Alexandria, VA 22312, or a charity of your choice.
Werner-Harmsen Funeral Home of Waupun and staff are serving the family. Please visit the website at wernerharmsenfuneralhome.com for address, further information and to post your condolences.
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ATLANTA, Ga. -- Killer tornadoes roared through portions of North Carolina and more than 50 southeastern counties in six states this time last year, leaving a grim wake of twisted destruction, more than 100 deaths, hundreds of injuries and total losses exceeding $179 million in federal and state disaster dollars.
In a tumultuous 60-day period, President Clinton helped Alabama, Florida, Georgia, Kentucky, North Carolina and Tennessee combat losses and clean up the mess from one of nature's most violent spring rampages. Not since 1936 when tornadoes killed 400 in Georgia and Mississippi in a terrifying 24-hour span has so much tornado destruction been recorded.
In North Carolina, two persons died in the March 27 tornadoes that ripped through Durham, Edgecomb, Lenoir, Nash and Rockingham Counties. Both fatalities were in Rockingham. The storms triggered more than $15.4 million in federal and state disaster assistance in the counties.
The Federal Emergency Management Agency (FEMA) and the U.S. Small Business Administration (SBA) provided assistance to North Carolinians and local governments that included low-interest loans to homeowners, renters and businesses, and grants to replace or repair damaged public facilities such as public buildings and municipal utilities.
"In response to such tremendous loss of life and property," said John B. Copenhaver, director of the Federal Emergency Management Agency's (FEMA) Region IV, "FEMA stepped up funding and launched several initiatives to ensure that more people have safe places to go with time to get there."
This includes the continuing work on development of high-tech tornado and storm warning systems. In 1998, FEMA awarded more than $82 million in hazard mitigation grants designed to lessen the impact of future disasters in the region.
Eric Tolbert, director of the North Carolina Division of Emergency Management (NCDEM), cited "a major partnership between North Carolina and FEMA last year that provided more than $10.6 million for a variety of mitigation projects, including severe weather and tornado warning systems."
In addition to warning systems, the federal grants funded communications equipment for communities to ensure continued emergency communications after a disaster.
Since 1990, North Carolina has received more than $43 million from FEMA's Hazard mitigation Grant Program above and beyond hundreds of millions more delivered in disaster recovery assistance.
Copenhaver said he believes a new public awareness about changing weather patterns and safe shelter techniques also emerged from the rubble of destruction. In addition, emergency managers throughout the region renewed efforts to discuss ways of dealing with tornadoes. A tornado summit was held at FEMA's Region IV headquarters in Atlanta, that served to sharpen the focus on development of better warning systems and the important "safe room" concept.
"While there isn't much that can be done to protect property from a direct hit by a twister with winds that approach speeds of 300 mph," he said, "that type storm is very rare, and we're now aware of new ways to help reduce the loss of lives from lesser but still powerful storm strikes." FEMA's Project Impact, a new concept to attack repetitive disaster loss cycles, provides additional funding strength and cooperative benefits toward this goal.
"Project Impact is based on a public-private sector partnership that is committed to making entire communities storm resistant," Copenhaver added. "We've proved that it works."
For more details about how Project Impact can work in a community, persons may log on to FEMA's Internet website, www.fema.gov.
1998 North Carolina Tornado Funding
|Counties Declared
|Disaster Housing (Rental assistance, minimal repairs,...


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Missouri University of Science and Technology
Visit Missouri S&T
Choose your visit experience:
Complete an online request and we'll get right to work planning your visit to campus!
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Our next Open House Events will be scheduled for fall semester 2016. We will have them online soon!
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Individual visits are available Monday through Friday each week.
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When's the best time to visit?
We welcome visitors throughout the year, but encourage you to schedule a visit during the week and over a period when school is in session. This will allow you to get the most authentic feel for our campus life and the best access to meeting faculty and touring facilities. Open House or Miner Day events offer convenience of timing and excellent access to current students, faculty and campus life.
If you are looking for even more personal attention schedule an individual campus visit. We offer individual visits tailored to your requests Monday through Friday. Saturday visits are available by appointment, but no academic department or faculty visits are available on Saturday. We hope you will join us on a weekday visit or attend one of our weekend Open Houses to really explore S&T.
Special Info
Individuals with sight, hearing, or mobility impairments who plan to attend an Open House or Miner Day should contact Missouri S&T's Americans with Disabilities Act coordinator at 573-341-6314 two weeks prior to a scheduled visit, for the university to provide reasonable accommodations.


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Craftsy Member since February 2013
I'm enrolled in these Craftsy classes:
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Move over Amsterdam! Colorado began accepting applications for recreational pot shops yesterday.
The applications were accepted by appointment only, which kept overcrowding in check. A far cry from the chaos in 2010 when swarming medical marijuana license seekers crowded the offices.
The Denver Post reported that the first applicants arrived at the Marijuana Enforcement Division's offices south of downtown Denver shortly before 9am, carrying heavy boxes and bulging binders. Just after 9, Andy Williams, the owner of the Medicine Man medical-marijuana dispensary, stepped into an office conference room to become one of the first to submit an application.
"We're excited," he said. "Some folks are afraid to be first, but we welcome it."
All available appointment for yesterday and today have been booked, but more days should be announced soon. Keep on mind that until July 2014, only businesspeople who own medical-marijuana dispensaries can apply to open a recreational store.
Businesses whose applications are accepted in October will receive a decision by Jan. 1, 2014, which is also the first day recreational marijuana stores can open in Colorado.
Hello, American pot-tourism!
Although the US landscape will morph into something similar to Amsterdam, the European city still has unique charms, not the least of which is the 2013 HIGH TIMES Cannabis Cup. Buy your tickets now!


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Every summer Americans flock to the theaters for huge blockbusters, anticipated sequels and crowd-pleasing adaptations — not to mention the frigid blast of air conditioning.
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You'll be notified via email when the On-Demand version of thise program is available.
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VIDEO: UTECH Gay Student In Jamaica Gets A Brutal Beating From Security Officers
Kali McCarthy
November 7th, 2012
Lastweek a video clip surfaced the internet showing a gang of security guards at the University of Technology (UTECH) in Jamaica brutally beating a gay man on the school's compound.
The video went viral on social networks including Facebook and Twitter.
On Thursday, a male student of UTECH was allegedly caught in a compromising position with another male student inside a campus bathroom as he's accused of having sexual intercourse with the man, who later fled from the scene. The unidentified student was held by Marksman security personnel, who caught the men in the bathroom before bringing him to a guardroom with an angry mob of students waiting for him outside.
The security personnel were then caught on tape punching, kicking and draping the student while they shielded him from the mob. A video of the incident was later posted on YouTube and the security guards involved have since been fired by Marksman.
A joint statement, issued on Friday afternoon by Marksman and UTECH detailed the incident while condemning the actions of the security personnel involved.
"This student was physically assaulted by on duty security guards employed by the contracted security company, Marksman Limited while several other students encircled the Guard Room attempting to get hold of the student," the statement read in part.
"The University's administration, the University's Students' Union and Marksman Ltd. strongly condemn the assault on the student by the security guards, and other individuals. Marksman Limited immediately removed the security guards who were involved in the assault. "
Meanwhile, UTECH administrators are conducting an in-depth investigation into the matter while the university revealed that they have been conducting counseling sessions for the students involved. No information was revealed regarding the beaten student's well-being.
Furthermore, UTECH's student union executive has initiated a series of discussions and sensitization sessions to encourage appropriate student behavior while promoting safety and security for the tertiary institution's student body.
Source: https://thehypelifemag.com/2012/11/07/video-utech-guards-brutally-beating-gay-student-in-jamaica/


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Minutemen Sign Goaltender Henry Dill
April 25, 2014
AMHERST, Mass. - UMass hockey head coach John Micheletto has announced the signing of 6-3, 200-pound goaltender Henry Dill to a National Letter of Intent. Dill is the eighth member of the Minutemen's Class of 2018 and is the second to sign this spring.
"We are excited to have Henry be a part of our goaltending mix," said Micheletto. "The Aberdeen Wings did not lose a regulation regular season game while Henry was in net from mid-January on and he was twice named the Player of the Week in the North American Hockey League."
Dill spent the 2013-14 season as a member of the Aberdeen Wings of the North American Hockey League (NAHL) and posted a 2.26 goals-against average and a .926 save percentage over 29 games with a record of 20-7-1. He went 13-2-0-1 in the final 16 regular season games he appeared in, registering a 1.75 GAA and a save percentage of .941 over those contests. Dill was selected as one of the NAHL Stars of the Week on two occasions, Feb. 18 and March 3.
He attended the USA Hockey Select 17 Festival and was named to the NHL Central Scouting's North American Ones to Watch list in 2013. A native of Columbus, Ohio, Dill is the son of Eric and Barbara.
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Skydiving.com now has a network skydiving location serving Harrison Township and Macomb County in Michigan. Call Skydiving.com at 1-800-617-7948 for details, free information and specials on skydiving in Harrison Township, MI today!
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Enter Lexington Village and find yourself surrounded by beautiful apartment homes nestled in a lush setting. Shop and compare; you'll discover our floorplans are some of the largest in the area. Lexington Village is just minutes away from everywhere you want to be, including downtown Royal Oak and Birmingham. Enjoy dining, recreation, and Oakland Mall. Major freeways, I-75 and I-696, are a short distance away, and it's a quick trip to metropolitan Detroit and Oakland County's major commercial and entertainment establishments.
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Editors' Note: The "Download Now" link directs you to the iTunes App Store, where you must continue the download process. You must have iTunes installed in order to open the link, and you must have an active iTunes account to download the application. This download may not be available in some countries.
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Version 2.0 fixes bug in search caused by changed Google addresses., and updated UI with translucent toolbar.