if money were not an issue, which tonewoods would you recommend for...

[Merlemantel]

Originally Posted by phavriluk

This bystander is amused by much of this conversation. A few words about the overwhelming influence of the luthier, and then back to multiple recitations about the 'sounds' of various species of lumber and their attendant tonal nuances. I can't hear paper specifications no matter how hard I try and I can't hear anything with my eyes. But my bank balance will sure know after I've blown a bunch of cash on a snipe hunt for 'tone' by thinking '***wood sounds like this'.... Sure about that?

Bottom line, its just fun to talk about guitars.

[Merlemantel]

Originally Posted by colins

Then there's the dilemma of the guy who secretly wants to sound like Andre Segovia getting guitar recommendations from another guy who wants desperately to sound like Randy Rhoads! We hardly ever mention playing preferences, styles, locations or audiences when we sing the praises of our favourite guitars.

But hey, it's still a fun forum! And it's fun gasbagging about guitars. We just need to be aware of the forum's limitations and biases.

Got a good chuckle out of this. And, of course, you are absolutely right.

[roscoe2311]

Merlemantel, I saw in another thread that you mentioned a Drew Heinonen SJ in Italian spruce and walnut? That's a great choice in builder and wood in my opinion! I really love Walnut.

[justonwo]

Originally Posted by colins

Then there's the dilemma of the guy who secretly wants to sound like Andre Segovia getting guitar recommendations from another guy who wants desperately to sound like Randy Rhoads! We hardly ever mention playing preferences, styles, locations or audiences when we sing the praises of our favourite guitars.

But hey, it's still a fun forum! And it's fun gasbagging about guitars. We just need to be aware of the forum's limitations and biases.

I want both! Randy Rhoads had some serious tone! No Braz involved!

[Bruce Sexauer]

While I can tell the good from the bad in redwood topped guitars, no redwood topped guitar I've run into makes the kind of sound that fits my concept for "tone". The very quality that I seek and call "tone" is actually missing. I have made several RW topped guitars, and they are no exception. I do know that people of sophisticated taste do actually love RW for qualities that are unique to the material, and I doubt I will ever understand that. I suspect it is related to the difference between tube and solid state amplifiers. I am a tube guy, of course.

[Merlemantel]

Originally Posted by roscoe2311

Merlemantel, I saw in another thread that you mentioned a Drew Heinonen SJ in Italian spruce and walnut? That's a great choice in builder and wood in my opinion! I really love Walnut.

Yes, I am so happy!! I feel so lucky to land one of these. I contacted Drew, and he had a spec guitar that he was building for a show available. Lucky lucky lucky, timing. His build queue is 2 years, and if I would have customized a guitar, I would have considered exactly the guitar he is building.

[Merlemantel]

Originally Posted by Bruce Sexauer

While I can tell the good from the bad in redwood topped guitars, no redwood topped guitar I've run into makes the kind of sound that fits my concept for "tone". The very quality that I seek and call "tone" is actually missing. I have made several RW topped guitars, and they are no exception. I do know that people of sophisticated taste do actually love RW for qualities that are unique to the material, and I doubt I will ever understand that. I suspect it is related to the difference between tube and solid state amplifiers. I am a tube guy, of course.

Love this, Bruce

[Dogma]

Originally Posted by Bruce Sexauer

While I can tell the good from the bad in redwood topped guitars, no redwood topped guitar I've run into makes the kind of sound that fits my concept for "tone". The very quality that I seek and call "tone" is actually missing. I have made several RW topped guitars, and they are no exception. I do know that people of sophisticated taste do actually love RW for qualities that are unique to the material, and I doubt I will ever understand that. I suspect it is related to the difference between tube and solid state amplifiers. I am a tube guy, of course.

Tube amps for instruments or for recordings (ie home "hifi?")

[Bruce Sexauer]

I meant in terms of electric guitar tone. It is an OLD saw.

[srick]

Originally Posted by colins

Then there's the dilemma of the guy who secretly wants to sound like Andre Segovia getting guitar recommendations from another guy who wants desperately to sound like Randy Rhoads! We hardly ever mention playing preferences, styles, locations or audiences when we sing the praises of our favourite guitars.

But hey, it's still a fun forum! And it's fun gasbagging about guitars. We just need to be aware of the forum's limitations and biases.

And how many times, as we have delved into the tonal qualities of walrus tusk as opposed to fossilized mammoth bone bridge pins, have I wanted to screams, “why don’t you just take some more lessons?!!”

All in fun believe me. My favorite guitar is made from an old mahogany tabletop.

Rick

PS - Didja ever see the video of Toby Walker playing his next door neighbor’s (the five year old) plastic guitar? Sounded pretty darn good.

[FrankCousins]

Originally Posted by Bruce Sexauer

While I can tell the good from the bad in redwood topped guitars, no redwood topped guitar I've run into makes the kind of sound that fits my concept for "tone". The very quality that I seek and call "tone" is actually missing. I have made several RW topped guitars, and they are no exception. I do know that people of sophisticated taste do actually love RW for qualities that are unique to the material, and I doubt I will ever understand that. I suspect it is related to the difference between tube and solid state amplifiers. I am a tube guy, of course.

I respect where you are coming from... but I do feel that all luthiers are just like all us players. We get this thing in our heads about what 'tone' should be. For a luthier, this quest will probably never be completed from no1 to however many they build in their lifetime... as humans we are always striving to improve... so I can appreciate that if a redwood 'sunk' or otherwise has not satisfied any stage in your own journey, that it might be abandoned on the road.

However, I have played several 'sinker'/addyourchoiceofbackandsides and found some to be poor, some good, and one or two rather delightful. BUT to othe hands and ears this might not be the same....

I have to admit I am a bit odd. Why? well have never asked a luthier to provide me with a 'tone' in my head. If its in my head its because I have heard it before and so if that's what I want, I would just go buy it... Why ask a luthier to build a 'martin OM' when you just go try a lot of Martin OMs and pick the one that is right for you?

For me its not about the woods, or a 'tone' but about the 'tone' that I get from an instrument, which will be different to the 'tone' any other player gets from it... and the whole point of buying a luthier build instrument IM very HO, is that I want something unique. Something that will challenge me as a player, something that I might need to work at over a long time to get the best from it. Its why I am sometimes quite disappointed to see so many luthier instruments still so very new in the classifieds... It seems that many just give-up if an instrument does not meet 'the tone I wanted'... I find this sad. It should be 'what can I do with this tone' ;-)

The 'tone I wanted' is usually one that belongs to someone else an influence or a player we admire... I prefer to find an instrument that is totally different to anything I have imagined... and use this to create something new and unique...If only my ability would allow me to ;-)

I feel too often we dismiss instruments (and tone woods) because we simply are no able to draw out their 'tone', so sell them on, rather than challenging ourselves to learn how to.

I want to LEARN how to get the best from an instrument. If I wanted it easy, I would sick with 3 chords on a D18 ;-)

[Guitars44me]

I agree with Frank C

And, one of the cool things about ordering a custom build is the ERGONOMIC features you can ask for.

John Kinnaird has built me the most comfortable BIG guitars ever. Think giant Stratocasters…

And the tone is SPECTACULAR too.

Cheers

Paul

[justonwo]

All good points. After a handful of commissions, I’ve become much less concerned with the species of wood and more concerned with the quality of specific sets a builder might have. In my first commissions, I wanted to manage every minute detail. These days, I give builders quite a bit of latitude to decide on materials. I often ask builders what they have in their woodpile that excites them and go from there. I have some general boundaries around what I like, but I find it more fun to let builders that I trust make the decisions about the materials. I’ve played so many good guitars from virtually every variety of spruce that I generally don’t sweat the top species much (I start with red spruce but can be convinced otherwise). For back and sides, honestly there are so many materials that make insane guitars that I am highly suggestible in this regard.

My current theory of commissioning guitars is to give the builder a lot of latitude to do what excites THEM. That has played out very well for me but requires, in my opinion, a lot of faith in the builder. When I’m working with someone like Burton or Slobod, I’m more than happy to say, “What do you have on hand that really excites you?”

Brazilian, Madrose, EIR, cocobolo, koa, ABW, maple, mahogany, you name it. It can all be amazing. With the right builder, I could be convinced to use just about any of them. If you don’t have the right builder, none of this stuff matters one iota.

[The Bard Rocks]

I don't know if I could do that. Makes me a control freak.?.. Maybe. But I have asked this question more than once:"What have you been wanting to try but never had a customer willing to go for it?" And so far have not got a real answer.

[harvl]

Hard to beat Tim's suggestion of Tree/LS, I've built a few guitars with that combo, never disappoints! You get the sound and you get the two best stories for collectable woods....and then there's the looks.
I've always found the combo fascinating because you are pairing maybe the most "prefect" wood (LS) with maybe the most "I must be crazy to build with this (if it's you first attempt anyway...) wood." If money is truly no object then go for the Tortoise Shell Tree as it's denser and stiffer than the less figured.
Can't go wrong with Tim building it either.

Harv