'SuperCharged' wood combinations

[mgap]

I have a 716ce Spring Limited.  It has Imbuia back and sides with Koa mini wedge, the top is Sitka spruce,  It is the only X16 model I have but I can say it sounds very different than my 714ce with rosewood back and sides. 
The tone does not have the low end thump that the rosewood has, so it is different, but in its own way very nice.
Visually I love the imbuia wood.  Some day I'll take some pictures and post them. 
Up until Taylor changed their web site you could still view the 2010 Spring limiteds, maybe there is a way to do that now but I don't know of any way to get there.

[michaelw]

those imbuia 700LTDs sure had nice appointments
http://taylorguitars.us/guitars/limiteds/Spring2010/Imbuia700/
i had a 02 454ceLTD 12'er & a 03 414ceL1 sitka/imbuia for a while & to me,
the tone was closest to ovangkol, with a little more 'roundness' in the bass -
just a little bit 'warmer' than walnut ... the scent of imbuia is very nice too

i had the 09 spring 716ceLTD madagascar & to my ear, it was a bit 'thicker' than cocobolo,
but that was comparing sitka/coco adi CV with bone nut & saddle to sitka/madi sitka CV & Tusq

i still miss this one ... sigh

[mgap]

I will probably sell a couple of my guitars soon.  The 716ceLTD is not one of them.

[Edward]

...
Wood has character and so it will always be part of the tonal package and different folks will favor difference nuances that the various combo's bring ... again, a good builder will have consistency in the build to the point that the wood has a chance to exhibit its part of the equation unhindered ...

This says it right on, IMHO.  Clearly the build makes the lion's share difference in the guitar's tone/voice.  But a builder whose build is both high quality and consistent can offer guitars whose tonal characteristics really can showcase what differening woods sound like.  Downplaying the importance of wood's affect on tone is true more of "lesser" builds where poor/spotty construction obscures the inherent qualities of any given tonewood.  But with any good make/builder, the wood becomes an integral part of the instrument's voice.
That said, have you ever heard the difference in tone binding makes ...whoa, now there's a subject to discuss!


Edward

[cigarfan]

I think we'd all agree that different guitars (made of different woods, or using different construction techniques, or coming from different manufacturers) all sound different.

I think most folks who have played a lot of different guitars would also agree that the "same" guitars (i.e., different specimens of the same model) can also sound quite different from one another.

I came across this article a while back (written by John Calkin, a luthier with Huss & Dalton) , and it raises some interesting questions - how much is due to the wood, how much the luthier and what he does with the wood, and how much is due to the player and listener's subjective expectation?

http://www.guitarnation.com/articles/calkin.htm

There is no question that there are vast differences in quality of materials and construction that have a huge impact on sound, but my interpretation of Calkin's thesis is that a good luthier can make any good quality wood, coupled with the right body shape, produce a wide array of different tonal palettes

From the article:
"First of all (and speaking from a steel string guitar perspective), let's discard the notion that some species of wood make good instruments and that others don't. The concept of tonewood is a hoax. Of the few things that we can do to a guitar and still call it a guitar, changing the wood it is made of will have the least impact upon the quality of the sound that it produces."

and later:

"The tone of a guitar lies more in the hands of the builder than in the materials from which it is constructed." ... "Psychoacoustics plays such a large role in this matter that it's difficult to discuss tone objectively."

I'd love to hear all of your thoughts on this.

I can't agree with a blanket statement like "the concept of tonewood is a hoax." Just like I can't agree with Calkin's assertion that "tap tones are a farce" either.

With the host of variables that make one guitar different from another, IMO, one of those is definitely tonewood. But look at the difference of the "Martin" sound and the "Taylor" sound if I can generalize in that way for a moment. Each kinda sorta a "signature" sound which can be largely attributed to builder techniques and specs. And each of us could probably pick them out in a blind test no matter what the model of guitar. We may be able to discern the difference in tonewoods given the correct conditions (same builder, model, strings, etc.) but in an arbitrary blind test that would be difficult for me. I'm guessing may be for you too!

All that to say, IMHO luthier voicing and technique is probably the singular largest influence on the tonal qualities of a guitar followed closely by top woods chosen. As far as esthetics go, wood from nature takes the lead followed closely by the luthiers skill.

For me, when the esthetics and tone strike that special chord in my eyes and ears it is a blissful moment. It is my quest. But unless a money tree springs up in my back yard, actually owning a guitar that spawns that type of "moment" will happen a select few times.

In the the meantime, talking about it with you good folks is fun! And far less expensive!

[Go Navy]

I'd love to get my hands on a sinker redwood top guitar.....or one with a walnut body and a cedar top.  But I'm done buying for awhile!  (Ok, I know, that's what they all say.......)

[cigarfan]

I'd love to get my hands on a sinker redwood top guitar.....or one with a walnut body and a cedar top.  But I'm done buying for awhile!  (Ok, I know, that's what they all say.......)

I think you have one of the nicest cedar tops I have ever seen. I just love the way cedar warms the tone of a guitar. My 12-fret GA-LTD is my cedar top.

I was of the same mind as you a couple months ago (dreaming about Sinker) and was lucky enough to snatch up a BTO with a gorgeous Sinker Redwood top. Then I acquired a redwood over rosewood as well.

There is commonality between these woods (cedar / redwood / sinker redwood) and I would guess, given the mineral content evidenced in your cedar, you are getting close to the same type of tonal qualities. IMO the sinker is a little richer but has very close characteristics. And my cedar and redwood come from different luthier's but I feel sound very very similar. If you get chance to try a sinker redwood, try it but I think you are going to find your cedar is really close.

[Go Navy]

[/quote]

I think you have one of the nicest cedar tops I have ever seen. I just love the way cedar warms the tone of a guitar. My 12-fret GA-LTD is my cedar top.

I was of the same mind as you a couple months ago (dreaming about Sinker) and was lucky enough to snatch up a BTO with a gorgeous Sinker Redwood top. Then I acquired a redwood over rosewood as well.

There is commonality between these woods (cedar / redwood / sinker redwood) and I would guess, given the mineral content evidenced in your cedar, you are getting close to the same type of tonal qualities. IMO the sinker is a little richer but has very close characteristics. And my cedar and redwood come from different luthier's but I feel sound very very similar. If you get chance to try a sinker redwood, try it but I think you are going to find your cedar is really close.
[/quote]

Thanks again, Cigarfan....I'm loving my new 812/cedar.  You have owned, and own, a lot more acoustics than I ever will, so your comments are especially significant!