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Construction of the neck
I use either one-piece, two-piece or multi-lamination of 5 pieces necks. The neck is one of the most important components that affect the acoustic characteristics of the instrument. It makes to 70% of the instrument’s sound. The material, size - thickness and profile, mechanical toughness are all very important. The thickness of the neck can be felt in mechanical endurance and even in the sound of the instrument. Massive necks support basic frequencies and sustain. The sound is piercing, specific and carrying. The mechanical toughness depends on: used material, construction (the number of pieces of the neck), a method of reinforcement and size.

I use ebony, Indian rosewood, Pau Ferro, maple, Wenge, Bubinga and many other exotic hardwoods. If we look past the mechanical endurance, which plays an important role, it is possible to affect the sound of the instrument by the material of fingerboard.



  • Quality and profile are important.

  • Soft frets muffle strings. It doesn’t have that much of higher harmonics.

  • Hard frets don’t hinder the strings and the sound is more brilliant.

  • Narrow frets have richer sound with many harmonics, but they wear out quicker.

  • Wide frets are used where we want to restrict higher harmonics.


Tone block

Thanks to the right selection of wood I can change the transmission from the neck to the body. This part of bass guitar let’s the neck transfer the string vibrations to the body of the instrument. It is interesting to compare differences of various woods.

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