Custom - Bodies



Full Guitars  †  Bodies  †  Necks  †  Inlays  †  Paint Finishes and Refinishing


We can produce custom bodies in the stylings of the following shapes;

ET Tomahawk
ET Predator
ET Fang
ET Shuriken
ET StratoJem
ET Tobacco Road
Strat
Ibanez Jem
Ibanez JPM
Ibanez PGM
Ibanez RG, 6 or 7 string series.
Ibanez UV
Ibanez Voyager

These bodies can be finished in a number of ways, please see our Paint Finishes and Refinishing page.


TIMBER OPTIONS

American Ash - Great sounding classic guitar timber, hard White Ash has been used on vintage guitars since the 1950's. Provides a deep mid-scooped tone, and blends flawlessly with fatter and higher output passive pickups. Swamp Ash varieties subject to availability.

American Alder - A commonly used timber needs little explanation for the Strat or Super-Strat fans. Medium density with well rounded tonal balance. PLEASE NOTE - LIMITED AVAILABILITY OF ALDER AT PRESENT



American Basswood
- The timber popularised by Ibanez, due to its light weight and extremely well balanced tonal properties. PLEASE NOTE - LIMITED AVAILABILITY OF BASSWOOD AT PRESENT.



Australian Ash - The local Australian equivalent of Ash, similar to the dense American Ash, with its sparkling clarity and scooped mid timbres. Not in the same botanical family as the American Ash, but we believe the closest in structure and weight. A heavy wood, ideal for Heavy Metal...think of a mahogany body with a thick maple top, the little known Aussie Ash produces nearly that tone by itself. Best finished in an opaque paint finish.



Australian Blackwood
- Nicely figured local Aussie timber from Tasmania or Victoria. Thick warm tone, similar to Sapelle, perhaps darker in sound. Best used as a natural finish, and with bright high-output pickups.



Mahogany (South Pacific, Fiji plantation) - Lighter weight cousin of the South American traditional rock workhorse timber. Lovely balanced sound and articulation, the nearest tonal equivalent is American Alder. Grain patterns vary, and best used with opaque finishes, or as a base for a figured maple top.



Mahogany, Sapelle (Africa)
- Dense and beautiful, becoming the popular alternative of the now restricted traditional South American rainforest Mahogany. Thick, warm and dark tonewise, as loved by the Les Paul players for decades. Can be used with a natural finish, highlighting the beautiful banding lines, or as a base for a figured top.



Quilted/Flame Maple tops - Laminated on top of Mahogany, Basswood or Ash, provides a stunning natural or stained  finish, with the tonal qualities of the base wood, plus the brightness of the maple for some top end ring.




EXOTICS (Subject to Availability and upon special request)
Paduak (aka Padouk, Africa)
Beautiful reddish brown African timber. Natural oil, or clear gloss finishes are spectacular. The brightest sounding timber we have available, its similar to making a body from solid Maple. Low end and mids are very tight, while no other timber is able to capture the crisp highs. Use with really fat passive pickups!




Zebrano (Africa)
Stunning "zebra" patterned wood, can be used as a top, or full solid body. Very bright sounding timber.


 

Guitar Body Gallery
Click for description.

Flamed Maple Top on Basswood Body in distressed blue finish and natural binding (David Shirley, USA)Flamed Maple Top on Basswood Body in distressed blue finish and natural binding (David Shirley, USA)
'Passion and Warfare' inspired swirl finish on an Ibanez RG7620 guitar Mathew Piccolotto (Australia)'Passion and Warfare' inspired swirl finish on an Ibanez RG7620 guitar Mathew Piccolotto (Australia)

 

Download our Custom Forms

Custom Body Form - Excel Custom Body Form - Excel (92 KB)

Custom Body Form - PDF Custom Body Form - PDF (153 KB)

Custom Neck Form - Excel Custom Neck Form - Excel (92 KB)

Custom Neck Form - PDF Custom Neck Form - PDF (151 KB)




Tonewoods, does timber affect guitar tone, is it a bunch of Baloney? What does ET say?

We believe that timbers have an effect, and a role in determining the tone of an electric guitar.

With acoustic guitars, the effect of timber is quite obvious, and can be heard by an untrained casual ear. Why then is there an argument that the timber makes little to no difference, and that the sound is completely dependant on the pickups and the amplifier?

Admittedly, there is a significantly less obvious impact of the tonewood on an electric guitar sound, and its much more difficult to detect for an untrained ear. However, wood is a material, with variation in properties from species to species, even within the same species. Just like there are differences in the properties between different metals, and different plastics, it would be wrong to assume that the differences in timber have no effect.

The main proprties of timber that we believe affect the tone are;

- Hardness
- Density
- Grain structure
- Porosity
- Moisture content
- Oil content

These properties all contribute to affect the amount of energy, and the frequencies, that are Absorbed or Reflected by the timber during the guitar string vibration. Some timbers are able to reflect certain frequencies, thereby sounding brighter or darker, depending on the timber. There are many variables to consider, such as the size and shape of the timber, the types and quality of hardware attached to the guitar etc etc. But in general we have certainly seen patterns of how various timbers typically behave. This is obviously not a guarantee of exact behavior, but should be used as a good starting point. We have been able to narrow the categories down to the following;

Dark/Warm Tones
The bass and mids frequencies are accentuated, to give an overall warmer full sounding tone. Care needs to be taken that the tone doesn't become too "muddy" or dull.

Mahogany (South American, African Sapelle)
Korina (African Black Limba)
Rosewood
Koa (Hawaii)
Blackwood (Australian)

Balanced Tones
The bass, mid and treble frequencies are relatively equal, giving a balanced tone, and the ability to tweak individual frequencies. Often these are good options to provide a tone that has enough mid presence to cut through the sonic mix of other musical instruments like drums and bass.

Alder (American)
Basswood (American)
Mountain Ash (Australian)
Mahogany (South Pacific)
Walnut (Honduran)
Wenge (African)
Ebony (African or Indian)
Pau Ferro (South American)

Bright Tones
The treble frequencies are crisp and clear, giving a bright, bell-like response, and sharper attack.

Maple (American)
Ash (American White or Swamp)
Walnut (American Black)
Paduak (African)
Bubinga (African)
Zebrawood (African)