A listing of some of my favorite woods used in the construction of my own guitars, along with photos, descriptions and statistics.
We could say that a tonewood is any wood used to make a musical instrument that generates tone.
Groundbreaking, I know.
But let's be real, not all wood is created equal. Some woods are dull and lifeless, while others have that mystical je ne sais quoi that makes a guitar weep, wail, or rock your face off.
This article is about the latter – the woods that don't just support the strings, but actively contribute to the sonic personality of the guitar. These are the real deal, the stuff that separates the amateurs from the artisans.
have added several statistics obtained from Eric Meier's excellent work at The Wood Database to each of my Tonewood descriptions. This information can get pretty complex, and I am certainly no expert. What I discovered over time is that by gaining a little understanding of the jargon, and comparing the statistics of one wood to another as I was actually working with each of these woods, everything began to make more sense.
Tests for a given wood's strength, hardness, weight, etc. are conducted using samples under specific environmental conditions. The surrounding air temperature must be 70°F, with a Relative Humidity (RH) of ≈ 65%, and the wood has reached Equilibrium Moisture Content (EMC) of 12%. At a lower RH, the EMC is also lower. At 45% RH the EMC is more in the 8% range.
Wet wood is heavier than dry wood, and size matters. To produce a meaningful and comparative weight number, it is necessary to use both an agreed upon EMC and a preset volume for all tested samples, which is 12% in a 1 foot (or meter) cube. Average Dried Weight is then expressed in pounds per cubic foot (lbs/ft3), or kilograms per cubic meter (kg/m3).
Water weighs 1,000 kilograms per cubic meter. Oversimplified, if a wood sample's density is the same as water, its Specific Gravity is 1.0. For comparative purposes, the idea is to measure the density of a wood that has been dried to 12% Moisture Content, represent that number mathematically as “ρ”, and use it to reflect the wood's mass per unit of volume.
Young's Modulus (E) measures a wood's stiffness when force is applied lengthwise. It informs us of the wood's resistance to being deformed, and can aid in understanding a given wood's ability to spring back to its original position or shape. It is typically expressed in GPa (GigaPascals).
Also known as Specific Modulus, this useful comparative number is arrived at using the formula E / ρ. Example: Sitka Spruce. A Modulus of Elasticity (E) of 11.03 GPa divided by a Specific Gravity (at 12% MC) (ρ) of 0.42 equals a Stiffness-to-Weight Ratio of 26.26.
Also known as Yellow Cypress/Cedar and/or Nootka Cypress/Cedar, Alaskan Yellow Cedar has the distinct aroma of peeled potatoes when worked. Trees are typically 100 to 120 ft tall and 4 to 6 ft in diameter. The heartwood is definitely yellow in appearance, though it will darken with age. As a tonewood, it compares favorably with Port Orford Cedar, though it is slightly heavier. The grain is usually straight, but wavy variations are out there. The wood is easy to work. As with any of the cedars and cypresses, it can trigger an allergic reaction in some. Alaskan Yellow Cedar can be used for soundboards. In veneer form, it makes for great laminations and purfling.
Lighter than Douglas Fir, yet as stiff if not occasionally stiffer, the highly aromatic Port Orford Cedar is actually a Cypress. Reaching heights of 200 ft., these trees can be found along the coast of southern Oregon and northern California. Tonally, Port Orford Cedar sits comfortably between Sitka Spruce and Western Redcedar. Paler in color that Western Redcedar, this relatively straight-grained tonewood can also sport curl, a particularly stunning variation. The resins that carry that wonderful aroma may need to be wiped off with a solvent prior to gluing or finishing. As a soundboard, Port Orford Cedar will compliment most any back and side wood. Strength-wise, it rivals the Spruces and can readily be used for bracing, if desired.
Soft enough to dent with a fingernail, Western Redcedar (WRC) can match or exceed Spruce in it’s stiffness to weight ratio, though this stiffness is typically notable along the grain only. This may explain why a WRC soundboard can be “overdriven” more readily than Spruce. WRC is lighter than the Spruces, and a WRC soundboard is often left a bit thicker to compensate for it’s shortcomings in across-the-grain stiffness. Western Redcedar is native to Oregon, Washington and British Columbia, with smaller forests found in parts of Idaho, Montana and Alberta. It is a magnificent tree growing to heights of 200 ft. with diameters as big as 13 ft. and often reaching ages of 1000 years or more. Reddish-brown to brown in color with straight grain. As has been demonstrated time and again, you can pair WRC with your choice of back and side wood. You may find that heavy strumming techniques work a little better on Spruce guitars.
Heavier than Spruce, Cedar and Redwood, and with some examples possessing perhaps the highest strength to weight ratios of all the softwoods, Douglas Fir is an often overlooked tonewood. This mighty tree, at 330 ft. is exceeded in height only by the Coast Redwood. Douglas Fir forests range from central British Columbia to central Mexico, extending eastward as far as west Texas. Color ranges from pale yellow to reddish-tan, and the grain is straight. While this wood is typically not thought to be as aesthetically pleasing as one of the Spruces, and is a bit heavier, it is definitely worthy of consideration, as it makes great soundboards! Unique among the softwoods, Douglas Fir is strong enough to be used for the entire body of the guitar, including the back and sides! Likely due to some form of nostalgia, having grown up in Oregon, I like to pair a Douglas Fir soundboard with Oregon Myrtle back and sides.
The largest of the evergreens, the Redwood (or Sequoia - both terms are accurate) can attain heights of nearly 380 ft. and is native to southern Oregon extending as far south as central California. The tallest tree in the world, Sequoia sempervirens, and the largest tree in the world (by volume), Sequoiadendron giganteum, are both Redwoods, though the latter is sometimes referred to as Giant Sequoia. The reddish hue and distinctive fragrance of the lumber of this tree make it easily recognizable. Wood from previously felled, older trees is desirable for its increased cross-grain stiffness. Commonly straight grained, figured or flamed Redwood is quite beautiful in appearance. Tonally, Redwood as a species may exhibit one of the widest ranges of frequency response of any wood. It can range significantly from warm to bright, from homogenized to articulate. Redwood can potentially be used for any soundboard application, replacing anything from Cedar to Spruce, if you have access to and can select the right piece.
Sitka Spruce is a softwood renowned for its very high stiffness (or strength) to weight ratio, both across-the-grain and along-the-grain, making it a popular all-around choice for guitar soundboards. This tree is native to the Pacific coast of North America in forests ranging from Oregon to Alaska and has been measured having heights greater than 300 ft, though trees ranging in height from 140 to 160 ft tall are more common these days. Colors range from off-white to pale yellow and, while being straight grained, variations known as bear claw can be visually stunning. With so many guitars being made over the decades having soundboards of Sitka Spruce, this softwood has become something of a benchmark by which other softwood tonewoods are compared. With it's wide dynamic range, a Sitka soundboard may be paired with most any back and side wood, and Sitka bracing is a consistent performer.
Red (or Adirondack) Spruce is another North American softwood renowned for its very high stiffness (or strength) to weight ratio. This tree is native to the northeastern Atlantic coast of North America in forests ranging from western North Carolina to Nova Scotia. Much smaller than Sitka, Red Spruce trees range in height from 60 to 100 feet, though some notable exceptions have been measured with heights exceeding 150 ft. Red Spruce does well in higher elevations, and can be found in the Appalachian mountain range as well as the Adirondacks. The wood is typically creamy-white in appearance and straight-grained. There is an expectation that a soundboard made from Red Spruce will be punchier (faster response and a bit louder) than other Spruces, but I have encountered many notable exceptions that challenge that notion. Regardless, it can be great wood for both soundboards and bracing.
The leaves of the Bigleaf Maple can easily span 12", hence it’s name. These hardwood trees are found in the Pacific coastal region of North America, ranging from southern California to Alaska’s southern border. The largest of these trees resides in Oregon and measures 8 feet in diameter and 88 feet tall. Softer than Rock or Sugar Maple, Bigleaf is sometimes referred to as Quilted or Curly, Tiger, Flamed or Fiddleback Maple due to the prevalence of a couple of 3-D phenomena that can occur in the grain pattern. When present, flatsawing will reveal the quilted pattern, where quartersawing is necessary to reveal the curl (Curly, Tiger, Flamed, Fiddleback). Though these patterns can be seen in other varieties of Maple, Bigleaf Maple is known for having the highest grades available. Guitars made with Maple backs and sides are often perceived to sound brighter (more articulate), as they do not tend to produce the overtones we associate with other hardwoods, such as the Rosewoods. A guitar built with Maple back and sides is expected to produce a clear, bright, crisp tone, adding a vitreous, or "glass-like" quality to the notes. Bass response may be slightly diminished when contrasted with a Rosewood or a Walnut guitar, for example. Once again, there are always exceptions.
5 foot diameter, 60 foot high Walnut trees are less common today in their native habitat of Oregon and California than they were 100 years ago due to the high demand for this lovely wood. Claro Walnut works easily and can be seen in everything from turned wooden bowls and carvings to rifle stocks and high-end furniture. I love to pair Claro Walnut back and sides with a Redwood soundboard. I think they look lovely together, and they sound great, too! A Western Redcedar top makes for a great instrument, as well. Generally speaking (as in "not always"), a guitar built having Walnut back and sides may tend to sound a bit warmer (more "woody") than a guitar built identically, but with Rosewood or Maple back and sides. Trebles may not be as pronounced, and some say the midrange may be a bit scooped, but the bottom-end is typically very strong and clear. Some of the nicest sounding ("big", "enveloping") 17" jumbo acoustics I have built have had Walnut backs and sides.
With grain patterns ranging from straight to wavy, from plain to highly figured, and having colors from sandy brown through orange-brown to olive, Oregon Myrtle (also known as Myrtlewood and California Bay Laurel) is one of the more visually interesting North American hardwood tonewoods available, and is strikingly similar in weight and stiffness to Indian Rosewood. Found along the coastline from southern Oregon throughout California, growing to heights of 100 feet or more with trunk diameters of nearly 3 feet, the wood of the Myrtle tree is easy to bend (a delightful characteristic, especially when building Venetian cutaways) and seemingly hypo-allergenic (some reports of skin sensitivity). Traditionally, its leaves were used medicinally. The fruit (nut) may be roasted and is edible. Myrtle is a pleasure to work with and always interesting to look at. As a tonewood, I think of Myrtle as an all-purpose radial tire for your car - it makes for a great all-around performer. One of my own favorite guitars, a 16" cutaway, has Myrtle back and sides.
Stronger, stiffer, denser and significantly heavier than it’s close cousin Brazilian Rosewood, Cocobolo is a gorgeous wood that can contribute to outstanding acoustic guitars. Typical trees grow to heights of 60 feet and have trunk diameters of 24 inches, though some exceptions have been as tall as 80 feet and as wide as 3 feet. Having relatively straight grain with colors ranging from yellow-orange to reddish-brown, this Central American Rosewood has a well-earned reputation for being difficult to work with; it is both notoriously allergenic and, being very "waxy", can be cantankerous to glue. That said, it is that very waxiness that allows for very smooth machining and polishing. Cocobolo can make for stunning looking and sounding instruments!
Indian (also called East Indian) Rosewood grows in India, Sri Lanka and Indonesia with trees ranging from 65 to 100 feet tall and as much as 4 feet in diameter. Indian Rosewood can range from golden brown in color to dark brown with purple hues. Straight grained Indian Rosewood is well regarded for being very easy to work and bend, and has become the standard in acoustic guitar back and sides, though figured wood is gaining in popularity. There is a reason Indian Rosewood is nearly a household name in the acoustic guitar world: it pairs well with most any soundboard and tends to contribute a depth of rich, lush overtones to the overall sound of the instrument. Our ears have all been trained to expect deep bass and articulate treble, perhaps with a slightly scooped midrange. Guitars built with Rosewood back and sides typically demonstrate greater dynamic range than guitars built with Mahogany or Maple, but there are always exceptions.
The well-loved tonewood often referred to as genuine Mahogany comes to us from Central and South America, though the darker, heavier, more-to-be-desired wood from the wild forests is increasingly difficult to come by. Today, the Mahogany harvested from plantations is lighter in weight and more pale in appearance. In addition to the many health benefits of its leaves, bark and fruit, its wood continues to offer what a guitar maker is looking for: workability, frequency response and aesthetic beauty. A well-built Mahogany guitar, be it all-Mahogany or simply having Mahogany back and sides, has a reputation for delivering what we try to describe as a warm and balanced tone with an accentuated midrange, especially when contrasted with a Rosewood or Maple guitar. When you need a guitar that can cut through the mix acoustically, such as during a live band performance, Mahogany may be what you are looking for. Mahogany is known to be a particularly stable wood and, as a result, has been the wood of choice for acoustic guitar necks for a very long time.
From the big island of Hawaii comes this unusual golden-brown hardwood, sometimes seen with streaks of reddish-brown or black and having straight, wavy, figured or even flamed grain patterns. Trees have been harvested as tall as 100 feet and as wide as 5 feet. Like Oregon Myrtle, Hawaiian Koa (also known as Acacia) is easy to work and is not known to produce any adverse health conditions. It is not unusual to see an all-Koa (back, sides and soundboard) instrument. Again, like Oregon Myrtle, Koa wood can range from visually bland to gorgeous in appearance! Pair it with whatever you like, or build the entire guitar from Koa. It won't disappoint.
The information above has been collated from various online sources, including:
I design and build acoustic guitars. Each instrument is created to be a unique visual and sonic experience.Where a factory may faithfully produce a given model thousands of times, every guitar I make is intentionally distinct. I have written several articles that acknowledge, explore, challenge, and at times defy traditional steel-string acoustic guitar convention.
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