Because other genres are brainwashed into thinking tone wood and pickups make the difference in tone.

Much of these applies to other genres. However. Even in metal gear can sometimes occasionally be specific. In industrial metal they often use gear in weird not normal ways to get new tones. A mixing board that's like 30 bucks and sounds like crap to create distortion. Or tweaking some specifics inside the amps that actually do tweak sounds. You can sometimes mod amps to do some cool extra stuff. But for clean tones. On acoustic guitars tone wood is real. But barely. Shape matter more. The reason vintage stuff in electric tones world has such variance in the vintage stuff is looser tolerances. You can get every bit in tolerances to clone any exact configuration physically for cheap. It doesn't have to be a price hike. Like 1200 for the most expensive amps with specific parts tolerances in the transformer or hand wiring scheme. Speakers matter probably more then that in most cases. Cab design matters alot. A few things can effect how strings vibrate. But nothing enough in a mix. Here's example of design mattering most. Old gibsons. And one other historic brand I think gretch or Martin used a historic scale measure from the 1800s in their guitars till the 60s. It's less accurate. But more about those subtle imperfections. So it matters context wise. Can you make advantage of Any of the little subtle things that can even effect tone to see I'd they cut through the mix in your genre. If you pitch correct and time align. Nah. If it's very raw with imperfections and feel. Yes. Cause if every note is a little less accurate but you have like perfect playing and stuff. And expressive playing. Bends can matter. But sometimes hilariously the cheaper stuff sounds better. Or the less accurate stuff matters. With modern instruments nah. Scale length. Amp or mic. Speakers. Cab design. Effects. Recording method. Room design matters more. Digital can effect that to tune for the room easier. But for general purpose. Alot of the same stuff still applies. I have a theory on why pafs do sound quite a bit different. And again is tolerances related. But that wire is now impossible to get. And not worth it since you have no way of knowing how it'll turn out. But essentially tolerance along the wire being less concise effecting the individuals pole pieces magnetic factor differently in terms of how hot or clean they are which is about all you can effect. But that'll effect how each string breaks up when driven causing the differences. Combined with old scale and more hand made and looser tolerances on intonation factors and yeah. Add in the coils being slightly different windings within each pick up. How hot and clean they are. But also means it's cheap to clone anything besides the pickups. Which you can effect with an eq pedal.... lol.

​@@donovanolguin6549I'm a metal guy, but I am still curious if there really is a difference in other styles. That said, tone wood for a solid body electric has never made sense to me.

Its both. That larger the area of the pieces, the more noticeable the difference in materials will be.

That's what she said😜🤘👍

im waiting for Glenn to do an April fools reveal.... PSYCHE!! it was all a DI recording with free plug ins...

That could be for a live performance up close, but the microphone is often so close to the speaker when the cabinet is mic'ed up that I doubt that anything about the cabinet makes a difference.

@@orlock20 sure it does. I have an open back 112 with a g12t75, and it sounds a lot different than my Marshall 412 with the same speaker

I agree, ive seen so many discussions and videos over the years that are all opinion based. What Glenn is doing is amazing and has actual clear results. We need more of this shit.

Depends on what you're doing with the cab. If you want portable and rugged, the test suggests Plywood. If you're not moving it, MDF will work.

Don't use MDF. I made a 2x12" from that and it was a heavy bastard to lift.

@@BellsCuriosityShop good point, although my amp is pretty heavy, so I need something equally in my other hand so I'm not walking all crooked :D

@@BeanDogStudios good point, if you're hoofing round a valve amp with a massive transformer in it you'll need the heavier cab for balance!

@@bigkevonbass @Bean Dog Studios my cab had a single handle on top that lasted six months of moving it around the garage until I bought a used pair of those things you mount into the sides which were a much better idea

Q for you, since you outed yourself as a designer: I've got a pair of 12s and a pair of 15s lying around. Do I build a 2-12 and a 2-15, or a pair of 12/15 cabinets? Predominantly bass guitar.

An old friend of mine used to design his own stereo speaker cabs as well. It seemed like every time I went over to his place he had a different iteration of speaker cabs. I think his final conclusion for best sound was the best speakers you could afford and the least resonant material you could make them out of, so he ended up making the cabs out of cement. I think the take away for me was get the heaviest cabs you can...they will resonate the least. For wood cabs he used 1" plywood with tons of bracing.

i remember stereophile magazine doing experiments with those and a waterfall plot back in the 1990's :)

@@GenJerDan I have been toying with a Roland JC with a 2x12 on one channel and a 15” Fullback equipped cab on the other! The only reasonI haven’t tried a 12x15 cab is the time and money to experiment with it.

Do you understand why guitar and bass cabs often have multiple identical drivers, and if it's just two, they're usually side-by-side? That seems like a recipe for maximizing comb filtering, which most speaker designers would studiously avoid. They're also usually open-backed rather than having a normal tuned bass port, and they're usually not damped on the inside to kill off stray high frequencies. Seems super-weird to me.

MDF is heavy though, depending on how often you go out, it might be a factor.

@@bassyey I'm a bedroom guitarist these days. I'm lucky if my kids even watch me!

What should I do to tame some brightness in a 1x12 closed back made of 18mm Poplar with joint box and rear-loaded? Do you suggest damping the inside with some acoustic foam?

Thank you!