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I don't think it's possible to catagorize body woods in general.
I think that's the best way to classify tone woods. It's true that if you try to classify individual specimens by the statistical "norm", it isn't all that difficult to find outliers that defy the norm (& combine them with the right hardware, p'ups, & neck, & you can work the tone a good amount). However, if you're looking for a certain tone, it's easier to find what you're looking for if you start with generalities & search for an optimum specimen within a category. Trying to find a particular body wood that generates a tone outside of its general characteristics is much more difficult.
F___er did a "player preference" test a long ways back. They put together a number of T's (I think it was 10 each of alder & poplar bodies) with very similar necks & electronics--& they painted all the bodies black to make the study "blind". There was some overlap in the middle of the range, but the top 7 or 8 (by player consensus) had poplar bodies.
I've put together a number of parts Str@s (many moons ago), & the ones that really stood out (at least for THE Str@ sound) were poplar (this was before I was aware of the F___er study)--it's coincidental, but my main player has a poplar body (I didn't know what it was when I bought it--it just had more projection & expansive tone than anything I'd picked up to that point, & it was cheap because it was quite worn).
if you limit yourself to finished production guitars, you're 100% right--throw the rules out the window. Poly & catalyzed urethane finishes smother some of the tonal differences, & chances are you're not going to find a poplar Str@ or T anyway. However, if you put one together from parts, give poplar a fair shake. It's cheap, & generally speaking, it sounds good (avoid the super lightweight bodies--they can sound dead & mushy).
I'm not surprised that basswood would make a good Str@. I'm more accustomed to hearing it with humbuckers, though.
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It's always the combination of body, neck, pickups and construction that makes the "sound",(and your fingers of course). And it depends on your personal taste.
I agree 100%.
With the options available today, it's easy to put together a good-sounding Str@ with any number of woods.
I'd note that some modern "super hot" p'ups can overwhelm any wood.
You couldn't be more right about Floyds (the licensed ones can be even worse). I fixed the problem (FINALLY) on my "fusion MIJ Kramer" with a big brass replacement tone block (from Pro Rock Gear--the block is so big, I had to set up the trem "down only"). As I get the $$$ & time, I'll replace the blocks on my other Floyds.
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As for Mexico - America: I've owned several mexican 7enders, but didn't like them. I do believe it's allowed to say: MOST OF the mexican made 7enders are worse than their US counterparts! But there ARE exceptions!
I agree again. I think there are 3 major reasons for this: (1) F___er USA routes higher grade wood to USA factories & lower grade wood to Mexico (ditto for hardware & pickups); (2) F___er brings the better Mexican luthiers in its employ to the US; & (3) It looks like F___er limits the refinements on MIM guitars. Gotta maintain brand perception & product differentiation to justify the "USA" up-charge.
Great thread,
mozart. I wish there were more MAT alternatives available, but the ones I like are out of my price range. I wonder how a U 70 would compare with both humbuckers cut.
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