I know. Something about exotic woods that get me excited. Hahaha!
For the fretboard, what local wood would you consider?
@jbarot: Since you have some experience working with local wood for your gutiars, I have a question for you. How would you descibe the acoustic quality of the different local woods when tap-tuned (Dark, bright)? Narra, Kamagong, Molave, etc.
I was considering shaping a body then getting a replacement neck to match it. Of course there's the bright maple and the dark rosewood to consider.
The only experience I have with local wood is with kamagong. Like most ebonies it sounds dead when you tap it but somehow it works well. But I seem allergic to it so I'm avoiding it for now. I hope that my experience with local woods expands. I really think we're onto something here.
The thing with tap tuning is that it's open to debate, kind of like the tone debate we're seeing on another thread on this forum
. Subjective. Carl Thompson, the bass luthier guru (he made les claypool's basses) says that when a customer orders and says something like "I want it to sound dark, bright, or whatever" he only scratches his head because it's so hard to quantify.
For me when I tap tune I look for a bell like sound. when I go through raw plates I look for a metallic sound when I tap it. It should sound like a sheet of aluminum when you tap it.
There are lots of articles re tap tuning, from the simple to the nerd like complete with graphs and equations.
I think I'm swerving off topic...