Maybe because I'm a lefty I'm always thinking about custom made instruments, and one of the cool things about hand made instruments is the choice of tonewoods. The following images and descriptions comes from Chris Baird, the maker of Arches Mandolins and other fine musical instruments. I copied this text directly from an old page on his site so any first person use of the word "I" or "we" below is Chris' language. I don't have this kind of knowledge - I'm just sharing this info because I found it interesting! Here goes.
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The material properties of
a tonewood are a factor affecting the tone of the finished instrument. However,
because wood's material properties (even among the same species) can vary
widely, only generalities can be considered. The way an instrument is
constructed, it's plate thickness, bracing arrangement and shape, overall
design, etc., have just as much (if not more) to do with an instrument's tone
than the woods used to construct it.
Below I've attempted to
outline the generalities of the tonewoods I'm familiar with. Ultimately, I will
only use these generalities to get me started when trying to attain a certain
type of tone. However, when the instrument is under construction I pay no
attention to the species, but, rather, consider the specific material qualities
of the wood in hand when thicknessing plates, carving braces, etc. This is
because each piece of wood may or may not fall within its species general
specifications.
Some general rules of thumb:
1. Greater stiffness
contributes to brighter more treble heavy responses.
2. Greater density
contributes to darker more bass heavy responses.
3. Greater internal
dampening (Q-Value) contributes to mellow round tones.
4. Each piece of wood will
have a unique combination of the above 3.
TONEWOOD GENERALITIES:
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Birdseye Maple |
A hard maple harvested in the northeastern part of the United States. This maple is dense, moderately stiff, and has low to medium internal dampening. It produces a clear, cutting, bright, and fundamental targeted tone. Very responsive in the mid to upper register with clear although un-complex bass overtones. Sustains slightly better than softer maples.
Curly Maple comes in both
soft and hard varieties. See Birdseye for a description of hard Curly Maple.
Soft Curly maple is similar to hard although with a general tendency to be more
bassy. Soft maple is slightly more responsive than Hard Maple but with less
sustain.
Walnut shares many
characteristics of maple. Its material properties can range from that of Hard
to Soft Maple. Slightly higher internal dampening often gives a warmer/rounder
tone over maple.
Lightweight, stiff, and
with moderate internal dampening this wood offers a mid-way point between the
cutting and bright tones of Maple and Walnut and the darker more complex tones
of Rosewood and Bubinga.
Very lightweight, moderate
stiffness, and moderate to low internal dampening. Mahogany is also a good
midpoint between dark and bright. This wood is very open and responsive.
Mahogany is usually a bit warmer than Tazmanian Blackwood. Also used for necks
and internal blocks. One of the world's most stable woods.
An aromatic wood with
nearly the same material qualities of Mahogany. We only use this wood for
internal linings.
Cocobolo is a true S.
American rosewood. It is very dense, very stiff, and has low internal
dampening. Cocobolo gives strong bass and treble overtones as well as lots of
sustain. This makes for a more complex/darker tone. Low internal dampening
gives an aggressive quality to the overtones. Strengths are in the treble and
bass with the midrange being less punchy than maple.
Other types of rosewoods
are occasionally available with similar qualities to cocobolo. Honduran
rosewood is pictured. Rosewoods have low dimensional stability and require more
care with regard to climate control.
Bubinga has similar
qualities to rosewood with one notable exception, it has higher internal
dampening. This gives Bubinga a rosewood like tone, dark and complex, but with
less aggressive and rounder overtones. Often referred to as "African
Rosewood". Those wanting a dark sound but who find rosewoods too
"harsh" should consider Bubinga.
Stiff, moderately dense,
with moderate to low internal dampening, Zebrawood often falls between maple
and rosewood in tonal quality. Similar to Tazmanian Blackwood and Mahogany
although brighter in tone.
An often brown and black
streaked ebony variety used for fingerboards, headplates, and other decorative
elements. Can be used for back and sides but is not recommended due to low
dimensional stability.
West African and Gaboon
ebony are used for fingerboards, headplates, bridges, endpins, and decorative
elements. Usually too unstable for use in back and sides.
We primarily use Adirondack
Red Spruce for our instrument top plates. Red Spruce is relatively dense and
stiff lending itself to a crisp clear tone that can be played hard without
losing quality. Red Spruce may take some "playing in" to achieve its
full potential. Softer Spruce varieties may be available for softer playing
styles that require more responsiveness.
Many other woods are used
for decorative elements when available. Pictured is Afzelia burlwood.
The woods in these pictures sure are pretty aren't they!? If it was just by looks alone I think I'd choose bubinga!
The woods in these pictures sure are pretty aren't they!? If it was just by looks alone I think I'd choose bubinga!
All woods are "tonewoods". It matters more how the instrument is made. One way to think about tonewood is to look at the ratio of stiffness (Young's modulus) to density. I originally was enamored by exotic woods with colorful and figured grains, but now I'd rather not make that kind of statement about cutting foreign trees. There are so many nice native woods that are not endangered. For my last fiddle, I have no ebony on it!
ReplyDeleteWoody
Well said, Woody. Thanks for your input!
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