Our search for the world's finest tonewoods is a chance to explore a universe of tonal possibilities. Responsible procurement, careful preparation, and skilled craftsmanship are required ingredients in the guitar building process. Like guitars themselves, wood is our passion.
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One of the most popular and traditional guitar woods of all time, rosewood takes that basic sonic thumbprint of mahogany and expands it in both directions. Think in terms of a visual spectrum in which low frequencies are on the left, and high frequencies are on the right. (See our visual graph of wood tones relative to each other on page 22.) Rosewood sounds deeper in the low end and brighter on the top end (one might describe the treble notes as zesty, sparkly or sizzly, with more articulation). If you look at its frequency range visually, rosewood would appear to be more scooped in the middle, yielding less midrange bloom than mahogany. Like mahogany, rosewood’s vintage heritage has helped firmly establish its acoustic legacy. It’s a great sound in part because we know that sound. In some music circles in which preserving the traditional sound helps bring a sense of authenticity to the music — certain strains of Americana, for example — rosewood has an iconic status. Also like mahogany, rosewood is a versatile tonewood, which has contributed to its popularity. One can fingerpick it, strum it and flatpick it. It’s very consistent, so players can usually rely on it to deliver.
Goes Well With
Most applications. If you like a guitar with fuller low end and brighter treble (bluegrassers, for instance), rosewood will do the trick. Its high-end sizzle and clear articulation will benefit players with “dark hands” . If you’re looking for a traditional acoustic sound, a rosewood Dreadnought or Grand Auditorium is right up your alley.
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| What about Brazilian? |
| Over the last few decades, Brazilian rosewood has maintained its reputation as a prized tonewood for several reasons: Its heritage traces back to the much celebrated pre-war era of guitar-building; it often has a striking visual appeal and a clear, full tone with complex overtones and ample dynamic range; and the supply remains scarce due to an export embargo imposed in the late 1960s as a result of overharvesting. “Brazilian is just kind of over, even though, ironically, there’s lots of it in Brazil,” says Bob Taylor. “You just can’t get it out. It’s difficult to obtain the proper legal certification. Even if you pull out fence posts or stumps from long-ago-harvested trees, obtaining them in a perfectly legal, above-board fashion, you’re probably not going to be able to get the legal paperwork to export it.” It’s gotten to the point where guitar companies in other countries, who own legally obtained Brazilian but don’t have adequate paperwork, have found their wood impounded indefinitely by government officials. On top of that, much of what is legally accounted for isn’t of the highest grade, yet its rarity has made it prohibitively expensive. Is it a great tonewood? Yes. Is it worth the current headaches associated with trying to legally obtain it? Probably not.
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