Choosing The Right Tonewoods For Your Acoustic Guitar Part 2

By: Aaron Schulman

Check out Part 1 of Aaron’s tonewood series

With the proliferation of guitar brands, luthiers, manufacturers and technologies, it could be easy to lose sight of the the fact that before quality craftsmanship, the true beauty of the steel and string sound of a quality acoustic guitar starts with the specific selection of quality woods, known as tone woods in the industry, with which the guitar is crafted. Though acoustic guitar makers (known as luthiers) have explored vast combinations of different domestic and exotic woods with which to produce a quality sounding (and long-lasting) guitar, there are several species of woods that luthiers continue to use as “old reliable” species because of their long standing history of producing quality instrument with specific tone qualities or “personalities.”

Take for instance, the East Indian Rosewood (Dalbergia latifolia) that is used to produce the Larrivee DV 09 or the Blueridge BR-160 acoustic guitar. Regardless of the model in which Rosewood is used, it has been the choice of many luthiers for producing the richest, most balanced, and best projecting sound of the guitar tone woods used for backs and sides. On top of the superior sound projected in the bass, mid, and treble ranges, are the crisp, woody and strong tones and overtones produced in the resulting sound. Of all the acoustic guitar tone woods used for sides and backs, Rosewood is arguably the first choice in producing quality guitars.

Acoustic Guitar Tonewoods

Looking at other models, like the historic looking Martin 00015M, made entirely of Western Mahogany (Swietenia mahagoni) and having a more natural finish, the sound projected by this guitar would be quite different to the trained ear than a guitar made of Rosewood. Any acoustic guitar made of Mahogany will project more clearly and dominantly in the mid range and perhaps will be well balanced more toward the mid and treble ranges, lacking a bit in the bass range when compared side by side with a Rosewood guitar. However, if a person is looking for the mid-range “punchiness” of a bluegrass guitar sound, Mahogany may be the best bet for ensemble playing as it’s EQ is a bit more compressed to favor that range. If one is looking for the deep, supportive vibrations of bass in their acoustic guitar, Rosewood is the first choice.

Another more recently popular tone wood used for the sides and backs in many popular Taylor guitars, among many other makers, is Sapele (Entandrophragma cylindricum). This tone wood was historically used in Spanish guitars for years and has become more popular in steel string guitars over the past few decades. Being similar to Mahogany, it is a bit more hard and dense, producing a bit more of a “punchy” and “crisp” sound than its Mahogany contender. This wood is harvested in Nigeria and near the Ivory Coast in Africa, and has become quite a popular wood in the mid to higher price range.

If one were to travel to Hawaii to hear the warm sounds of Hawaiian steel guitars, he or she would most likely hear the lush, warm and bass-enhanced overtones of Koa. Koa (Acacia koa) is endemic, or exclusively native, to the Hawaiian islands and has been used for decades in playing rich, warm guitar sounds found in the “sliding” style played in Hawaiian music. If one wanted the most projection in the bass region, he or she would fork out the extra money for a guitar made from Koa wood. Not only does it project a rich, warm and deep bassy sound, it also can produce some very beautiful colors and finishes giving the guitar a visual appeal that is fancy and quite exotic.

Another tonewood used that is quite popular, but less than the others mentioned here, is Maple. Though maple has a lower “velocity of sound” than most of the other tonewoods (the sound travels more slowly through this wood), if produces a tone that is mostly strong in the upper end of the EQ spectrum for acoustic guitars. If you have ever seen the finish on a flaming maple-backed guitar, you would see why it is a choice of many guitar players and makers because of the light color and the way that the fibers and ribbons in the wood grain play with refracted and reflected light. Quilted and/or curly maple is another decorative choice, and both are accomplished by the direction of the cut of the species of wood.

The final tonewood to mention here, but just as an honorable mention, is Nato wood (Mora excelsa). To clear the air on Nato wood, it is not true mahogany, but is commonly referred to as Eastern Mahogany and is used in less expensive guitars that are mass produced. It can produce tones similar to Mahogany, but lacks its richness and balance and is not quite as beautiful as a true Mahogany. Additionally, it is more cheaply harvested and has become quite a popular substitute for guitar makers who would like a sound similar to Mahogany, but at a significant discount. Nato comes in a rich reddish brown color.

Although this is not an exhaustive review of tone woods, it is a good foundation on some very popular options, and can give an interested investigator a simple foundation in doing research for his or her next acoustic guitar purchase. In the least, one can begin to appreciate the craftsmanship of building fine acoustic guitars and what luthiers process when building different guitars for different end purposes.

Aaron Schulman is a guitar player, writer, researcher and teacher from Strumviews.com. You can read more of his best acoustic guitar reviews here. Whether you are looking to buy a mid-range guitar like the Taylor acoustic 110 series or another popular model, he recommends studying guitar construction and tone woods first in order to make a more confident investment.