Addressing fingerboard geometry and toolability:
Sound Composites recognizes that the definition of dimensional perfection is realistically based on individual (or groups) of luthier preferences. Therefore Sound Composites has incorporated refined geometry provided by top luthiers with a 'non-fibrous' tooling matrix that allows for dimensional adjustment using standard woodworking tools, scrapers and sandpapers. This approach minimizes work in fngerboard fine tuning and fitting, facilitating ease for luthier’s to methodically adjust any aspect of relief to one's personal geometric preferences if and when required. The beauty of this material is that properly made strings (even in the case of coarse roundwound styles) do not groove as they slide across the fingerboard surface. However, when a sharp blade or gritty sandpaper is applied, the surface may be worked and adjusted.
Regarding Bass Fingerboard Geometry:
The geometry of Sound Composites bass fingerboards provides excellent relief and contour. Along with other nuances, it is for instance clear that modern definitions of relief demand a surface shape that has less dramatic drop-off in the 1st position, notably on the bass side. Additionally, overall board relief is best served by incorporating a maximum built-in relief that runs diagonally across the fingerboard, 'rather than' in one position (or perpendicular to the strings). Thus, the overall relief is greater towards the nut on the bass side, and consequently greater towards the body on the treble side. These aspects have been addressed while maintaining proper individual string relief along the entire length of the fingerboard. Additionally, Sound Composites has a model that offers geometry reflecting older classical definitions. This model does, for instance, have a more pronounced ramp-off beginning around the first position, bass side.
Regarding overall fingerboard density and internal material placement:
Regarding abrasion and wear, one can counter hardness with hardness (or) hardness with what we call 'lubricity'. If one does the former, the softer material will wear. Metal strings are harder than all wood fingerboards, thus such boards groove over time. With this approach, the only way to obtain a non-wearing fingerboard is to produce a material embodiment that is so hard that the strngs have no influence on its surface. A fingerboard material that accomplishes this is rather bright, pingy and not sonically attractive.
Sound Composites has chosen an alternate approach with variations. In the American Ebony fingerboard style we have placed the stiff and high transmission carbon fiber below a matrix surface that is of moderate density, while exhibiting extremely low friction. It is essentially a ‘lubricious’ surface that does not wear. Simultaneously it acts as a moderating sonic filter which provides a warm yet clear and focused tone. These Sound Composites fingerboards contribute to a fundamental and harmonic overtone series that is balanced and complete. The ‘fuzzy’ transients, by example represented in the minor scraggly ‘teeth’ present along the major wave forms of a Fast Fourier Transform machine computation’s read-out are substantially diminished.
Sound Composites also produces a tooling and performance surface that combines the black lubricious, 'non-wearing' but moderate density American Ebony matrix with extremely durable cellulosic(woody)fiber. This ‘Bio-board’ matrix is the toolable surface area of each fingerboard and above the fibrous carbon. The result is a fingerboard with a very durable surface exhibiting extremely clear tonal characteristics, even when compared with the Sound Composites American Ebony boards. At the same time, there is a quality of warmth that reflects the inclusion of the cellulose.