Tonewoods

As a young boy, had you asked for a list of tonewoods, I likely would have included Rosewood, Spruce, Cedar and, perhaps, Maple. As an early teenager, I probably would have added Mahogany. While I wouldn't have been wrong, I quickly learned that acoustic guitars can be (and have been) built from many wood species.

Several factors determine a given wood's suitability for inclusion in a given guitar build such as musicality, workability, strength, aesthetics, availability, etc. Wood species that tend to score higher with both builders and players alike are generally referred to as tonewoods.

I am of the persuasion that many of the traits and characteristics of various species of tonewoods are observable, recognizable and even distinguishable, though that does not mean that all traits are always present in every sample. I explore this topic a bit further in my article » Wood is Wood - Until it is More.

In the brief listing below I have compiled various measurements along with my own subjective and esoteric understandings of a sampling of my favorite acoustic guitar construction woods. Note that these are mostly North American species found predominantly in the Pacific Northwest region of the United States.

Alaskan Yellow Cedar

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 and - did I mention? it has a strong, unique aroma. As with any of the cedars and cypresses, it can trigger an allergic reaction in some.

  • Classification: North American Softwood
  • Scientific Name: Cupressus nootkatensis
  • Janka hardness: 580 lb f
  • Average Dried Weight: 31 lbs/ft 3
  • Specific Gravity (Basic): 0.42
  • Specific Gravity (12% MC): 0.50
  • Modulus of Elasticity: 1,420,000 lbf/in2 (9.79 GPa)
  • Stiffness-to-weight Ratio: 19.58

Port Orford Cedar

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. Port Orford Cedar pairs well with most any back and side wood.

  • Classification: North American Softwood
  • Scientific Name: Chamaecyparis lawsoniana
  • Janka hardness: 590 lb f
  • Average Dried Weight: 29 lbs/ft 3
  • Specific Gravity (Basic): 0.39
  • Specific Gravity (12% MC): 0.47
  • Modulus of Elasticity: 1,646,000 lbf/in2 (11.35 GPa)
  • Stiffness-to-weight Ratio: 24.14

Western RedCedar

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 WRC can be “overdriven” more readily than Spruce, when both soundboards are braced identically. WRC is lighter than the Spruces, so a WRC soundboard can be 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, for example, seemingly due to Spruce tending to have greater stiffness across the grain, but there are always exceptions.

  • Classification: North American Softwood
  • Scientific Name: Thuja plicata
  • Janka hardness: 350 lb f
  • Average Dried Weight: 23 lbs/ft 3
  • Specific Gravity (Basic): 0.31
  • Specific Gravity (12% MC): 0.37
  • Modulus of Elasticity: 1,110,000 lbf/in2 (7.66 GPa)
  • Stiffness-to-weight Ratio: 20.7

Douglas Fir

Heavier than Spruce, Cedar and Redwood, 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 as aesthetically pleasing as one of the Spruces, and is a bit heavier, it is definitely worthy of consideration, as it makes great soundboards! It is strong enough to be used for the entire body of the guitar, including the back and sides! One of my favorite combinations is to pair a Douglas Fir soundboard with Oregon Myrtle back and sides.

  • Classification: North American Softwood
  • Scientific Name: Pseudotsuga menziesii
  • Janka hardness: 620 lb f
  • Average Dried Weight: 32 lbs/ft 3
  • Specific Gravity (Basic): 0.45
  • Specific Gravity (12% MC): 0.51
  • Modulus of Elasticity: 1,765,000 lbf/in2 (12.17 GPa)
  • Stiffness-to-weight Ratio: 23.86

Redwood

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 felled, older trees is desirable for its increased cross-grain stiffness. Commonly straight grained, figured or flamed Redwood is quite beautiful in appearance. I love to pair it with Walnut, though it goes well with anything. Redwood sounds similar to Cedar but, being harder, heavier and stiffer, the general consensus is that it can handle a bit more energy prior to being overdriven.

  • Classification: North American Softwood
  • Scientific Name: Sequoia sempervirens
  • Janka hardness: 450 lb f
  • Average Dried Weight: 26 lbs/ft 3
  • Specific Gravity (Basic): 0.31
  • Specific Gravity (12% MC): 0.37
  • Modulus of Elasticity: 1,220,000 lbf/in2 (8.41 GPa)
  • Stiffness-to-weight Ratio: 22.72

Sitka Spruce

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. 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 tonewoods are compared. With it's wide dynamic range, Sitka can be paired with most any back and side wood.

  • Classification: North American Softwood
  • Scientific Name: Picea sitchensis
  • Janka hardness: 510 lb f
  • Average Dried Weight: 27 lbs/ft 3
  • Specific Gravity (Basic): 0.36
  • Specific Gravity (12% MC): 0.42
  • Modulus of Elasticity: 1,600,000 lbf/in2 (11.03 GPa)
  • Stiffness-to-weight Ratio: 26.26

Red (or Adirondack) Spruce

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. Regardless, it can be great wood for soundboards.

  • Classification: North American Softwood
  • Scientific Name: Picea rubens
  • Janka hardness: 490 lb f
  • Average Dried Weight: 27 lbs/ft 3
  • Specific Gravity (Basic): 0.37
  • Specific Gravity (12% MC): 0.43
  • Modulus of Elasticity: 1,560,000 lbf/in2 (10.76 GPa)
  • Stiffness-to-weight Ratio: 25.02

Bigleaf Maple

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 species of Maple, Bigleaf Maple is known for having the highest grades available. Guitars made with Maple backs and sides are often considered 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. Note that bass response may (or may not) be diminished when contrasted with a Rosewood or a Walnut guitar.

  • Classification: North American Hardwood
  • Scientific Name: Acer macrophyllum
  • Janka hardness: 850 lb f
  • Average Dried Weight: 34 lbs/ft 3
  • Specific Gravity (Basic): 0.44
  • Specific Gravity (12% MC): 0.55
  • Modulus of Elasticity: 1,450,000 lbf/in2 (10.00 GPa)
  • Stiffness-to-weight Ratio: 18.18

Claro Walnut

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, mostly because of how well they look together. A Western Redcedar top makes for a great instrument, as well. Generally speaking, a guitar built having Walnut back and sides may tend to sound a bit warmer 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.

  • Classification: North American Hardwood
  • Scientific Name: Juglans hindsii
  • Janka hardness: 1,130 lb f
  • Average Dried Weight: 40 lbs/ft 3
  • Specific Gravity (Basic): 0.51
  • Specific Gravity (12% MC): 0.64
  • Modulus of Elasticity: 1,680,000 lbf/in2 (11.59 GPa)
  • Stiffness-to-weight Ratio: 18.10

Oregon Myrtle

With grain patterns ranging from straight to wavy to highly figured and colors going from sandy brown through orange-brown to olive, Oregon Myrtle (also known as California Bay Laurel) is one of the more visually interesting tonewoods available, and is striking 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, Myrtle wood 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.

  • Classification: North American Hardwood
  • Scientific Name: Umbellularia californica
  • Janka hardness: 1,270 lb f
  • Average Dried Weight: 40 lbs/ft 3
  • Specific Gravity (Basic): 0.51
  • Specific Gravity (12% MC): 0.63
  • Modulus of Elasticity: 1,225,000 lbf/in2 (8.45 GPa)
  • Stiffness-to-weight Ratio: 13.41

Cocobolo

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 that very waxiness that allows for very smooth machining and polishing. Cocobolo can make for stunning looking and sounding instruments!

  • Classification: Other Hardwoods
  • Scientific Name: Dalbergia retusa
  • Janka hardness: 2,960 lb f
  • Average Dried Weight: 69 lbs/ft 3
  • Specific Gravity (Basic): 0.89
  • Specific Gravity (12% MC): 1.1
  • Modulus of Elasticity: 2,712,000 lbf/in2 (18.7 GPa)
  • Stiffness-to-weight Ratio: 17.0

East Indian Rosewood

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. We all have learned to operate with the understanding that we can expect deep bass and articulate treble, with 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.

  • Classification: Other Hardwoods
  • Scientific Name: Dalbergia latifolia
  • Janka hardness: 2,440 lb f
  • Average Dried Weight: 53.4 lbs/ft 3
  • Specific Gravity (Basic): 0.70
  • Specific Gravity (12% MC): 0.83
  • Modulus of Elasticity: 1,668,000 lbf/in2 (11.50 GPa)
  • Stiffness-to-weight Ratio: 13.85

Honduran Mahogany

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, all-Mahogany or 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, such as during a live band performance, Mahogany may be what you are looking for. This makes it a common choice for recording, as well.

  • Classification: Other Hardwoods
  • Scientific Name: Swietenia macrophylla
  • Janka hardness: 900 lb f
  • Average Dried Weight: 36.8 lbs/ft 3
  • Specific Gravity (Basic): 0.52
  • Specific Gravity (12% MC): 0.59
  • Modulus of Elasticity: 1,458,000 lbf/in2 (10.06 GPa)
  • Stiffness-to-weight Ratio: 17.0

Koa

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, Acacia (or Hawaiian) Koa 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.

  • Classification: Other Hardwoods
  • Scientific Name: Acacia koa
  • Janka hardness: 1,170 lb f
  • Average Dried Weight: 38 lbs/ft 3
  • Specific Gravity (Basic): 0.53
  • Specific Gravity (12% MC): 0.61
  • Modulus of Elasticity: 1,503,000 lbf/in2 (10.37 GPa)
  • Stiffness-to-weight Ratio: 17.0

Resources

The information above has been collated from various online sources, including:


Janka hardness: Derived by determining the force needed to depress a steel ball a given distance into the wood. This can be useful when considered the blunting effect the wood can have on tools, as well as how easily a wood may scratch or dent.
Average Dried Weight: Expressed as an average weight of kiln-dried (not green) lumber
Specific Gravity (12% MC): This number represents the density of a wood, dried to 12% Moisture Content, and is mathematically represented as “ρ”. It is a comparative number that reflects the wood's mass per unit of volume.
Modulus of Elasticity: 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).
Stiffness-to-weight Ratio: Also known as Specific Modulus, this useful comparative number is arrived at using the formula E / ρ. Example (Sitka Spruce): A Modulus of Elasticity of 11.03 GPa divided by a Specific Gravity (at 12% MC) of 0.42 equals a Stiffness-to-weight Ratio of 26.26.

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