Experience with Macassar ebony guitars

[Wade Hampton]

For those of you who own or have at least some experience playing guitars with Macassar ebony backs and sides, I'm interested in hearing what you thought of them and how you'd characterize the tonal qualities of that wood. I just had a phone conversation with the guitar builder Howard Klepper, who's built with it once and played a small handful of other people's Macassar ebony guitars (three or four of them, he said.) What was interesting to me is that the characteristics Howard described didn't match what another builder told me about.

That builder, however, hasn't built with it as Howard has, so I rate Howard's impressions higher.

Anyway, I'm thinking about it for a back and side wood for a guitar patterned after a Martin 12 fret Double O. The one Macassar ebony guitar that I played that I really liked, however, was a 17 inch jumbo, so I don't have the pertinent experience to figure out whether Macassar ebony would work as well.

Any experiences, insights or impressions that any of you have to offer I'm eager to learn from you.

Thanks in advance,


Wade Hampton Miller

[Goodallboy]

This will be brief. One of my Goodalls was Macassar and it was toward the bottom of the few Goodalls I've owned. Gorgeous, and that's what led me to it, but wasn't the equal of my Cocobolo Goodall.

I'm not sure what tonal qualities transfer from builder to builder. Personally I think the builder is the overwhelming factor.

[The Bard Rocks]

I have one and am not sure how much I can tell you that will actually be of help as the top is so unusual. The Macassar was selected carefully to complement the top. I wanted some additional volume and brightness. There is not all that much there now, but who knows what it would have been had I used Rosewood or Mahogany? On the other hand, it is a bit more metallic sounding, but in a very pleasing way, and it really really shines in lower tunings, even good ole Drop D. Heavenly when you do that.

[Montesdad]

I've owned two - sold them both.
Would have to put them close to a Ziricote that I also used to own.

To me, nothing audible clearly defines the wood unto itself - not like a mahogany or a koa or say a maple, all of which tend to have more unique tonal characteristics. Not as much depth to the bass response as my Braz or previous EIR's if one is comparing to a rosewood.

The wood itself can be quite beautiful to my eyes like a Ziricote and I'd have to just leave it there.

That being my previous experience, a good luthier with a good selection of a top material and an excellent build technique, can probably build in much of the defining characteristics of his/her heritage and bring out much if not all of what you will want to hear. Dont ever recall seeing one in a 00 size and there may be a reason to that end - mostly on the bigger boxes.

[RustNeverSleeps]

Originally Posted by Wade Hampton

For those of you who own or have at least some experience playing guitars with Macassar ebony backs and sides, I'm interested in hearing what you thought of them and how you'd characterize the tonal qualities of that wood. I just had a phone conversation with the guitar builder Howard Klepper, who's built with it once and played a small handful of other people's Macassar ebony guitars (three or four of them, he said.) What was interesting to me is that the characteristics Howard described didn't match what another builder told me about.

That builder, however, hasn't built with it as Howard has, so I rate Howard's impressions higher.

Anyway, I'm thinking about it for a back and side wood for a guitar patterned after a Martin 12 fret Double O. The one Macassar ebony guitar that I played that I really liked, however, was a 17 inch jumbo, so I don't have the pertinent experience to figure out whether Macassar ebony would work as well.

Any experiences, insights or impressions that any of you have to offer I'm eager to learn from you.

Thanks in advance,


Wade Hampton Miller

No direct experience - but I like the sound of that build!

[Wolfram]

Macassar ebony is hands down my favourite tonewood! I own three (all OM/GC size) and have another due sometime early next year (dread size). I think it's important to pair it with the right tonewood - mine are Euro, Engelmann or Colorado blue spruce.

Although the design and execution (effectively, the builder) are the most important things in determining tone, there is a definite character running through all of mine (and shared by the other 3-4 ebony guitars I've been lucky enough to try): all of the richness of a good rosewood, but with less 'zing' for a rounder, almost classical-like character to the trebles. Also, considerably less 'ring' than rosewood, for greater clarity and separation. I wouldn't describe it as a 'flattering' wood, and that clarity and definition will expose faults in your playing or technique that may be glossed over by other woods - but I find the sheer depth of tone magical. In particular my Baranik Meridian Aurora - Colorado blue spruce over Celebes ebony - is absolutely perfect; I love it dearly and there is nothing whatsoever that I would change about it.

The only macassar ebony guitar I've played that I didn't like was a Taylor dreadnought - it seemed to me that the back was overly thick / heavily braced and simply wasn't able to vibrate and contribute anything. An ebony Taylor GC I tried at the same time was lovely - easily the nicest sounding (for my tastes) Taylor I've played.

Hope that helps - very happy to answer any specific questions!

Cheers,
David

[Jeff Scott]

Mine may not help you much either as it is a jumbo bodied 12 string guitar. What I can say is that it it the finest (IMO+E) sounding 12 string guitar I have played/owned. Lots of depth to the tone and, of course, shimmering trebles, with good, clear mids. Some of the shimmering brightness is, no doubt, from the soundport facing me on the upper bout. I have only heard it played by others a couple times, years ago, but the tone seemed very well balanced from the audience perspective, from what I recall.

[rick-slo]

Most effect is on the bass notes. Tighter, more focused bass than rosewoods for example.
Representative example of my Macassar Ebony/Swiss Spruce guitar:
http://dcoombsguitar.com/CDFive/WhereToDemo.mp3

[Scholar]

I used to own a beautifully constructed mini-jumbo in bearclaw sitka and macassar, built by Trevor Kronbauer to my specs. I found it to be tonally rich without being strident, with perhaps a bit less volume than I might have had with rosewood, but with a focused sweetness in both the highs and lows that was very pleasing to my ear. The photos below are low resolution, so please ignore any weirdness. For your viewing pleasure:

[colins]

Originally Posted by Wolfram Slides

....Although the design and execution (effectively, the builder) are the most important things in determining tone, there is a definite character running through all of mine (and shared by the other 3-4 ebony guitars I've been lucky enough to try): all of the richness of a good rosewood, but with less 'zing' for a rounder, almost classical-like character to the trebles. Also, considerably less 'ring' than rosewood, for greater clarity and separation. I wouldn't describe it as a 'flattering' wood, and that clarity and definition will expose faults in your playing or technique that may be glossed over by other woods - but I find the sheer depth of tone magical. In particular my Baranik Meridian Aurora - Colorado blue spruce over Celebes ebony - is absolutely perfect; I love it dearly and there is nothing whatsoever that I would change about it.....

Cheers,
David

Hello Wade,

I can only echo what David said so well.
I have had one mac ebony guitar – a Goodall GC in mac ebony teamed with an Engelmann top. I chose it over more than 12 other Goodalls that I played one fantastic afternoon with the Brevards in Texas back when they had a big Goodall dealership (remember Acoustic Pro Musician?). For me as a fingerstyle player it was the most refined of all the Goodalls I tried, showing the great sounds that Goodalls can offer but with a degree of understatement and a little mellowness that I really appreciated.

So I bought it. On getting it home I found it to be very similar to my other Goodall – my Italian/ziricte CJ.

Best of luck with your selection.

Col

[devellis]

I have a Macassar ebony guitar built by Gary Zimnicki and it's a great instrument. Top is Adirondack. It's loud and rich but with lots of clarity. I was worried that the wood combination might sound brittle or shrill but that isn't he case at all. It sort fo reminds me of my Goodall in some ways: nice round tone to the notes but with excellent clarity and note separation. Those two guitars are the only ones I've owned to pull off that feat so effectively. The Zimnicki is a heavy guitar (5 pounds even), proving that more weight doesn't mean less responsiveness. It's very responsive and can be played softly or loudly with equal ease and effect. It's also a real looker.

I suspect a lot of the characteristics of the guitar are down to the builder. But clearly, in the right hands Macassar can result in a great guitar.

[Mycroft]

Interestingly, I played one on monday. I was down killing time in Renton, and made my annual visit to A# Music They have a consignment Breedlove that they were selling with Macassar Ebony back and sides (I don't remember what sort of Spruce top that it had) I don't remember the model either, but it was roughly a 000 size. I've generally never been a big Breedlove fan, although I understand what their fans like about them, it is just not my cup of chai, and this one fell into that saucer.

Generally an exception has been Breedlove 12-strings with Macassar Ebony back and sides, several of which I've played over the years at A# and quite liked.

But the example that I am thinking of is a Edwinson that Steve built for my friend Robb, and that I had left here for a month or two a while back. It was a Zephyr, I believe, that is a roughly 00-sized guitar with a cutaway. Steve does build with a tone that has a decidedly modern bent.

What I found was that it had a different voice. Very nice shimmer in the high end without being shrill, and a very deep low end akin to good Brazilian. However, it did not have that "wash" of overtones that Brazilian (and most other Rosewoods like East Indian) have that smear the definition between the notes of different strings. Not to say that it had no overtones, but rather that it has clarity and definition string to string and that the overtones are sharp and well defined, supporting the fundamental enough to make the note "big." It was a nice fingerpicker, which is what that particular instrument was designed to be. Fairly fast decay.

FYI, you will find that Macassar is physically a pretty "heavy" wood, sort of like cCocobolo with a lead-shot lining.

I've never played one of Howard's guitars, but from what I've observed, he may lean for towards a traditional tone rather than a modern one. I am curious as to what his take on a Macassar-backed 00-21 would be.


TW

[tippy5]

I have enjoyed my Master Grade Englemann over Macassar Goodall Standard, (2011 Healdsburg Presentation model).
Tonewise I think you will be rewarded with more clarity, and a for lack of a better word, a round low E string tone. No low mid mud.

Very balanced, medium to low overtone artifacts and overall delightful sound.

There seems to be slightly more risk / reward ratio with these.
They are great fingerstyle guitars for complex melodies, adult chords and faster tempos.
But sometimes that clarity leaves you way out front.
Meaning some miscues are more evident than say a sitka / rosewood dread.

[drive-south]

Tacoma used to make a Marakesh model with striped Ebony back & sides. It was available with cedar or spruce tops. When I saw Jackson Browne in April he used one that was drop tuned. It was the best sounding guitar he played that night and he played many great guitars inclding Smecks and a Martin 00015M.

[Wade Hampton]

This is great - I'm learning lots. It's very useful. Since I know Mycroft personally (and the way he runs intellectual circles around his comparatively slow-witted brother Sherlock,) that's especially helpful, since he and I have passed guitars back and forth between us and have a good idea of how the other guy's ear works.

Any more of you with good or bad experiences with Macassar ebony, please chime in. Thanks.


Wade Hampton Miller