Choosing the right tonewoods for your acoustic guitar – part 2
In a previous article, we discussed popular tonewoods used for acoustic guitar tops, where they are harvested, and some of their tonal characteristics, strengths and weaknesses. Although among luthiers (guitar craftsman), the top or soundboard is perhaps the most influential piece of wood that shapes the tonal quality of the acoustic guitar, the sides and back also shape and add overtones and other qualities to the sound before it projects through the sound hole.
While studying guitars from the same manufacturer, using all of the same specification, while changing the tonewoods used for the back and sides, we noticed considerable differences in tonal personalities that may not be as evident, even to the most sensitive or best beginner acoustic guitar ear. As one matures in playing the acoustic guitar, he or she will certainly develop his or her own “ear” and preferences for different guitar models, styles and manufacturers, even if he or she does not quite understand what creates the differences in tonal qualities. Regardless, this series of guides is designed to help anyone gain a better understanding of how tone woods in acoustic guitars really do influence and shape the sound quality of the instrument, thereby helping anyone be more knowledgeable when conducting in depth acoustic guitar reviews.
And on to the sides and back
The sides and back of the acoustic guitar can be made from numerous woods and materials. In some cases, polycarbonate materials or plastic composites are used, while the tops are still made from solid tonewoods. When plastics are used, this completely prohibits the acoustic guitar’s ability to “grow old gracefully” as many fine acoustic guitars made with superior quality tonewoods actually develop a more mature sound that tends to improve and “open up” with age, much like a fine red wine.
In other cases, the sides have been made from laminated woods using inferior stocks of tonewoods that have been glued together in layers to produce a sustainable but inferior tonewood. This technique is often used in lower budget acoustic guitars, yet can produce a decent sound response and overtone. However, if one is looking to get the most from his or her acoustic guitar, he will learn about different tonewoods and find the best acoustic guitar he or she can find that suits his or her tastes and tone preferences while sticking with solid tonewood construction.
Let’s take a look at some popular woods:
East Indian and Brazilian Rosewood tend to be some of the most popular for creating the broadest Eq of tonal qualities and overtones (tones that are higher than the main tone and that compliment the main detected initial tones imparted from the wood). Thought Brazilian Rosewood has been protected due to its declining populations, these have been the top choice of many luthiers and players for their richness in all of the frequency spectrum, and their “bassy” dominance over other tonewoods, without sacrificing the mid and high range tones. Rosewoods are dark in color, and can be quite beautiful when finished. Rosewoods are found most commonly in India, Africa, Asia, Brazil and other places of South America.
Mahogany, whether referring to Sapele, Eastern, or Western has been another “staple” for the luthier for decades. It is easy to work with, and provides perhaps the most “woody” sound for the acoustic guitar. While the Rosewoods tend to give a bit more of a metallic ring, broader range, and overall more projection, the Mahogany family of tonewoods has been equally as popular in acoustic guitar construction. Additionally, some mahoganies have been used to produce the tops or soundboars as well. Mahogany tends to project mostly in the mid range, allowing it’s sound to pierce through or be a bit punchy as in blue-grass style strumming and flat-picking. A person looking for this kind of tonal quality, favoring the mid and higher tone ranges, the different mahoganies should be considered first. However, to the seasoned ear, mahogany will clearly be more compressed in overall color, depth, projection and brilliance when compared to the more robust Rosewoods.
Koa and Maple are two other honorable mentions, as they are used quite extensively more in the past few decades than in previous decades. While Koa is a warmer wood that has been historically the wood used for the warm, rich, lush steel slide playing style of the Hawaiian guitar, Maple is projects in the opposite extreme- the higher tones. For a warm guitar with perhaps a more muted and subdued range than Rosewood or Mahogany, one might choose Koa. On the other hand, some major jumbo models have used Maple to balance out the “boomy” bass projection caused by the larger body style. Since Maple is the brightest and “thinnest” of the tonewoods mentioned here, it can be used when someone prefers a brilliant or bright sounding guitar. If you were to strum an acoustic guitar made of Rosewood and then strum an acoustic guitar made of Maple, as long as all other variables were the same (such as the manufacturer, strings, bracings, body style and size, and top wood) you would notice quite a difference in their tones and overtone personalities as well as their Eq and dynamic strengths and weaknesses.
Aaron Schulman, from the acoustic guitar reviews site StrumViews.com has studies acoustic guitar construction and tonewoods for years after having a disappointing beginner acoustic guitar. His current favorite guitar that he owns is made with a Sitka Spruce top and Indian Rosewood sides and back, giving a very rich, clear and strong projection. Before buying your next guitar, you can learn more about how to buy an acoustic guitar at Stumviews.com.
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