everything you need to know...
Let's discuss tonewoods.
We all know an electric guitar's tone comes from various areas: the timbers used, construction method, quality of construction, hardware, pickups and amplifier. We can swap out pickups, we can change an amplifier, or we can even add effects into the mix. But we can't change the tonewoods, once a guitar is built, so it is very important to get this right, first.
Let us be honest here... the average person couldn't care less, which tonewoods are being used when you're blasting out a solo at the local bar. But you do... or at least you should do.
Whilst the amplifier and pickups take the majority of the tonal load, it is important to remember they only amplify the basis of the guitar... the timbers and construction. We firmly believe all good guitars start with a well selected set of tonewoods, and then ADD pickups to suit the chosen timbers.
We all know an electric guitar's tone comes from various areas: the timbers used, construction method, quality of construction, hardware, pickups and amplifier. We can swap out pickups, we can change an amplifier, or we can even add effects into the mix. But we can't change the tonewoods, once a guitar is built, so it is very important to get this right, first.
Let us be honest here... the average person couldn't care less, which tonewoods are being used when you're blasting out a solo at the local bar. But you do... or at least you should do.
Whilst the amplifier and pickups take the majority of the tonal load, it is important to remember they only amplify the basis of the guitar... the timbers and construction. We firmly believe all good guitars start with a well selected set of tonewoods, and then ADD pickups to suit the chosen timbers.
ALDER
Light weight with a tight grain structure with no real noticable grain lines, Alder is perfect for bodies. Mids are pronounced but it still has a nice rounded bottom and and bright top end. Region: West Coast USA Janka/Hardness: 590 lbf (2,620 N) Weight: 28 lbs/ft3 (450 kg/m3) 
NORTHERN ASH
Swamp Ash's lesser known cousin. Being heavier than Swamp Ash makes it less desirable, but the improved bottom end attack and stronger mid range give it the edge for heavier music styles. Region: North America Janka/Hardness: 1,320 lbf (5,870 N) Weight: 42 lbs/ft3 (675 kg/m3) 
BOIS DE ROSE
Dark purple coloured grain, and a very dense structure make this timber great for fretboards. However, recently all exports from Madagascar have ceased, so it will be near impossible to find in the future. Very similar in sound to Cocobolo. Region: Madagascar Janka/Hardness: 2,600 lbf (11,570 N) Weight: 58 lbs/ft3 (930 kg/m3) 
BOCOTE
Sometimes referred to as Mexican Rosewood, Bocotoe features a grain of striking yellow and brown lines and swirls. Quite an oily timber, so no finish is generally required (just oil) when used in necks. It's heavy though, so you'll need to design around the weight. Its on the warmer side of the scale tonally, but it does have a nice attack and sustain. Region: Mexico Janka/Hardness: 2,010 lbf (8,950 N) Weight: 53 lbs/ft3 (855 kg/m3) 
CARBON FIBRE
Hey what? That isn't a timber! You're right, but carbon fibre is certainly a material you'll see from time to time. Extremely stiff and light weight, it has a well defined note separation and glassy tone. Useful not only for body tops, but fretboards AND neck strengthening rods also. Region: NASA ;) Janka/Hardness: N/A 
DOUGLAS FIR
Golden yellow in colour, Douglas Fir is not a common tonewood. Clear and bright in tone with a nice bottom end. We generally only use this timber for tops. Region: North America Janka/Hardness: 620 lbf (2,760 N) Weight: 32 lbs/ft3 (510 kg/m3) 
ASIAN EBONY
Try searching for Asian Ebony on google, and you'll find everything BUT the timber... Similar in tone to Macassar Ebony, which is bright. Nice dark pinkish/brown grain with wide black streaks. It smells like cheesey bacon when we cut it in the workshop, which is a bonus. Makes for a very nice neck, but often not hard enough for a fretboard unfortunately. Region: South East Asia Janka/Hardness: N/A Weight:N/A 
PALE MOON EBONY
Great focused tonal spectrum with nice tight lows, and clear highs. No two pieces are the same in appearance, and you'll find yourself staring at it for hours. Perfect for fretboards, but can be quite difficult to find in pieces large enough for a body top. It's expensive, but the looks more than make up for that. Region: South East Asia Janka/Hardness: 1,780 lbf (7,920 N) Weight: 51 lbs/ft3 (825 kg/m3) 
KATALOX
Deep red, almost purple black in appearance, Katalox is starting to gain popularity in the luthiery circles. Dense and bright tonally, similar to Ebony, with reasonable supply make this a timber to consider for fretboards. Region: Central America Janka/Hardness: 3,660 lbf (16,260 N) Weight: 72 lbs/ft3 (1,150 kg/m3) 
BLACK LIMBA
Limba, is available in either black, or white, this example being black. The streaks in the grain are a prime example of the beauty of mother nature. Similar in tone to Brazilian Mahogany, with slightly more mids. Very popular, although supply is sporadic. White Limba also goes by the name Korina, which was named by Gibson back in the 1950's to stop other instrument makers from learning their secret. Certainly one of the favourites for bodies and necks here at Ormsby Guitars. Region: Africa Janka/Hardness: 670 lbf (2,990 N) Weight: 35 lbs/ft3 (555 kg/m3) 
BRAZILIAN MAHOGANY (HONDURAS)
Traditionally used for solid body guitars back in the day, Brazilian/Honduran Mahogany is well rounded in tone with a warm feel. It's commonly thought that you'll need a brighter top wood/fretboard to add a little bit of snap back into the tone for rock/metal. Due to CITES restrictions it is now unable to be imported into Australia, but we do have extensive stocks of this wonderful species. Region: South America Janka/Hardness: 900 lbf (4,000 N) Weight: 41 lbs/ft3 (655 kg/m3) 
MANGO
Native to Hawaii, Mango has a lot of similarities with it's neighbour Koa, although it does have a slightly brighter top end. Interesting swirling grain is a sight to behold. Can be a little difficult to source, especially the more figured pieces. Region: Hawaii Janka/Hardness: 1,070 lbf (4,780 N) Weight: 42 lbs/ft3 (675 kg/m3) 
BURL MAPLE
Lots of swirls, voids, bark inclusions and general "what the hell is THAT?!?!" make this an interesting timber. Used only for tops (although we have built one piece solid bodies from it in the past when supply was generous). A little warmer than the rest of the Maple examples. Region: North America Janka/Hardness: 1,450 lbf (6,450 N) Weight: 44 lbs/ft3 (705 kg/m3) 
ROCK MAPLE
The industry standard for guitar necks. Stable under string tension, with a nice bright round tone. Can be oiled if you prefer to feel the grain, although most necks are lacquered. Region: North East of North America Janka/Hardness: 1,450 lbf (6,450 N) Weight: 44 lbs/ft3 (705 kg/m3) 
QUILT MAPLE
Maple has a brightness to the top end (but ever so slightly less than Flame Maple) and tends to tighten the bottom end when combined with warmer timbers. Very popular for tops, but unfortunately not suitable for necks. The figuring comes from the wood fibres compressing on themselves due to the shear weight of the old growth Maple trees. Approximately 1/100 trees have some quilt figuring, although less than 1/1000 have the figuring and depth we look for. From the west coast of the USA. Region: Pacific North America Janka/Hardness: 850 lbf (3,780 N) Weight: 34lbs/ft3 (545 kg/m3) 
TASMANIAN MYRTLE
Bright and snappy with a nice balance warmth to the bottom and mids. Often found with nice variation in the soft colours of pinks, biege, and greys. We use Myrtle for bodies only. Region: Tasmania Janka/Hardness: 1,310 lbf (5,840 N) Weight: 39 lbs/ft3 (625 kg/m3) 
OVANGKOL
Also known as Shedua, Ovangkol is very similar in tone to Rosewoods, with a slightly brighter top end and nice full midrange. It is part of the same family as Bubinga, an features similar interlocking and interesting grain at times. A little more difficult to work with, and has a natural oil which requires no hard lacquer finish. Region: West Africa Janka/Hardness: 1,330 lbf (5,900 N) Weight: 51 lbs/ft3 (825 kg/m3) 
PAU FERRO
Not quite in the realm of Ebony for brightness (but still brighter than Maple), Pau Ferro makes a wonderful fretboard material; it polishes well to a smooth finish, and withstands wear and tear better than most. Region: South America Janka/Hardness: 1,960 lbf (8,710 N) Weight: 54 lbs/ft3 (865 kg/m3) 
PURPLEHEART
A wonderful tonewood that some claim to be in the realm of Brazilian Rosewood. It has a wonderful sustain, and a more impressive look. Not often found with curly grain (as pictured), as it's quite rare. The colour changes from a bright purple to a dark purple/brown colour as it oxidises. You'll need to be fast with the lacquering to capture the brighter colours and "lock them in". Region: Central America Janka/Hardness: 2,520 lbf (11,190 N) Weight: 56 lbs/ft3 (905 kg/m3) 
REDWOOD
A hard finish, generally lacquer, is highly recommended over Redwood due to it's soft nature. Used purely for decorative tops, it is not suitable for necks or fretboards. We source the flamed/figured variety, as shown, for it's beauty. Region: North America Janka/Hardness: 450 lbf (2,000 N) Weight: 26 lbs/ft3 (415 kg/m3) 
HONDURAN ROSEWOOD
Warmth of tone with a slightly glassy sound, and highly suitable for fretboards. Interesting colouring and grain patterns (sometimes with a spider web type figuring) add to it's appeal. Region: Honduras Janka/Hardness: 2,200 lbf (9,790 N) Weight: 64 lbs/ft3 (1,025 kg/m3) 
INDIAN ROSEWOOD
Lusious reds, browns, and even streaks of black, this is a beautiful timber. Nice warm tones with a creamy top end. Wonderful for fretboards, necks, tops and bodies. Region: India, Sri Lanka, Indonesia Janka/Hardness: 2,440 lbf (10,870 N) Weight: 52 lbs/ft3 (830 kg/m3) 
SNAKEWOOD
A true exotic wonder of nature. Exquisite 'snake scale' like pattern of browns, black and orange. Due to it's small growth, generally only available as fretboards, but he have been extremely lucky to have sourced some tops and necks in the past. Bright, and very smooth when used as a fretboard. Region: North East area of South America Janka/Hardness: 3,800 lbf (16,900 N) Weight: 73 lbs/ft3 (1,170 kg/m3) 
WENGE
Chocolate brown and black streaks with amazing grain patterns. It's hard and heavy, and can tend to move around a bit in one piece necks (we recommend laminating the necks to stop this). Not as bright as Maple, but it does have a nice mid range. For necks, we recommend an oil finish... you'll love the feel. Region: Africa Janka/Hardness: 1,930 lbf (8,600 N) Weight: 54 lbs/ft3 (870 kg/m3) 
ZIRICOTE
A rich, deep bass with sparkling highs are what you'll hear, but it's the magnificent grain patterns of black lines and brown swirls you'll fall in love with. Most commonly used for fretboards with it's silky smooth finish, but we love to use Ziricote as tops, and even necks too... but they tend to be pricey. Region: Central America Janka/Hardness: 1,970 lbf (8,780 N) Weight: 50 lbs/ft3 (805 kg/m3) |
SWAMP ASH
Light weight with an open pore structure, with a beautiful flowing grain which can be grain filled in a contrasting colour for special effects. Mids are pronounced but it still has a nice rounded bottom and and bright top end. Very similar to Alder, with a slightly nicer bottom end. Think of the old guitars built by Leo, and you'll be familiar with Swamp Ash. Region: Southern North America Janka/Hardness: 590 lbf (2,620 N) Weight: 30-33.6 lbs/ft3 (481-538 kg/m3) 
TASMANIAN BLACKWOOD
Used for bodies and necks, Tasmanian Blackwood is a heavy timber, and often requires chambering to bring the weight down. It features a nice tight bottom end, with a small mid range hump, and a bright top end. Related to Koa, a prized tonewood from Hawaii. Without a doubt, our most popular body wood. Region: South East of Australia Janka/Hardness: 1,160 lbf (5,180 N) Weight: 40 lbs/ft3 (640 kg/m3) 
BUBINGA
Fantastic sustain and bright tone with a nice fat bottom end, which is perfect for bass necks. However, it is heavy, so chambering is recommended for bodies. Region: Central Africa Janka/Hardness: 2,410 lbf (10,720 N) Weight: 56 lbs/ft3 (890 kg/m3) 
BUCKEYE BURL
No two pieces are alike with Buckeye Burl. From intense swirls and wild grain, to colours ranging from beige, through grey/blues, to near black, it is one of the most interesting timbers to look at. You can get lost in the moment looking at the strange patterns, seeing shapes which remind you of something else. Tonally very even, light weight, and only suitable for tops due to it's soft structure. Region: East Coast of North America Janka/Hardness: 350 lbf (1,560 N) Weight: 25 lbs/ft3 (400 kg/m3) 
COCOBOLO
Wild oranges, browns, even yellow and black are featured in the magnificent grain of Cocobolo. It will darken over time to a more subdued look, but all the character is still there. Expect a nice mid range without it being too warm, or bright tonally. It's a little more difficult to glue due to the oiliness of the timber, but that just means it makes for a great playing, low maintenance fretboard. Compares very well to Brazilian Rosewood. Region: Central America Janka/Hardness: 2,960 lbf (14,140 N) Weight: 69 lbs/ft3 (1,095 kg/m3) 
EBONY
We source Ebony from Africa for fretboard and tops, and occassionally full necks. An Ebony fretboard feels silky smooth due to it's tight grain structure and lack of pores. Tonally it is the brightest of timbers, and adds a nice snappy tone especially to the initial attack of each note plucked. Region: Africa Janka/Hardness: 3,080 lbf (13,700 N) Weight: 60 lbs/ft3 (955 kg/m3) 
MACASSAR EBONY
Similar to African Ebony in tone, although not quite as bright. Very close pore structure leaves a nice smooth feel for fretboards. But, it's the grain that makes this one interesting; the brown and black stripes look wonderful. Region: South East Asia Janka/Hardness: 3,220 lbf (14,140 N) Weight: 72 lbs/ft3 (1,150 kg/m3) 
GONCALO ALVES
Clear crisp bottom end with a nice midrange. The grain is a sublime pattern that reminds you of a tiger, or some other exotic animal. In fact, it's often called tigerwood in some countries. Quite rare, and only used for tops and the occasional fretboard. Region: Brazil Janka/Hardness: 2,170 lbf (9,640 N) Weight: 57 lbs/ft3 (905 kg/m3) 
KOA
A visually striking timber, very similar in properties to both Brazilian Mahogany (although with more top end presence), and Tasmanian Blackwood (which it is closely related to). Beautiful gold and brown stripes, and can sometimes be found with flame patterns. Limited availability due to it's rarity, and pricey, but worth it. Suitable for necks or bodies. Region: Hawaii Janka/Hardness: 1,170 lbf (5,180 N) Weight: 38 lbs/ft3 (610 kg/m3) 
AFRICAN MAHOGANY
Similar in tone to Brazilian Mahogany, with a slightly brighter vibe. A little heavier than Brazilian Mahogany, but often features a slight swirl to the grain which can make it interesting to look at. Region: Western Africa Janka/Hardness: 1,070 lbf (4,760 N) Weight: 40 lbs/ft3 (640 kg/m3) 
PACIFIC MAHOGANY
The same species as Brazilian/Honduran Mahogany, but grown under different conditions, gives this timber a nice light weight, yet all the characteristics of traditional Mahogany. It is grown in sustainable plantations, but the really good stuff that we prefer is from the edges of those plantations. Warm tone overall with a creamy top end. Region: Fiji Janka/Hardness: 590 lbf (2,620 N) Weight: 28 lbs/ft3 (450 kg/m3) 
BIRDSEYE MAPLE
Stable and strong, Maple has a brightness to the top end and tends to tighten the bottom end when combined with warmer timbers. Very popular for necks, and tops but most commonly seen as a fretboard material due to the fact the birdseyes simply dont extend into the tree so far. Region: North East of North America Janka/Hardness: 1,450 lbf (6,450 N) Weight: 44 lbs/ft3 (705 kg/m3) 
FLAME MAPLE
Stable and strong, Maple has a brightness to the top end and tends to tighten the bottom end when combined with warmer timbers. Very popular for fretboards, necks, and tops. The figuring comes from the wood fibres compressing on themselves due to the shear weight of the old growth Maple trees. Approximately 1/50 trees have some flame figuring, although less than 1/1000 have the figuring and depth we look for. We source the majority of our flame Maple from the east coast of the USA and Canada. Region: North East of North America Janka/Hardness: 1,450 lbf (6,450 N) Weight: 44 lbs/ft3 (705 kg/m3) 
QUEENSLAND MAPLE
Not a true Maple at all, this timber has a very Mahogany like tone. It's generally light weight, and is often available with figuring to the grain. Region: Northern Queensland Janka/Hardness: 810 lbf (3,620 N) Weight: 35 lbs/ft3 (560 kg/m3) 
SPALTED MAPLE
The product of a decaying tree, Spalted Maple is very difficult to work with, and can often cause health issues. The black lines are actually bacteria, that have been feeding on the resins within the tree. Every piece is totally unique, so no two are alike. Suitable only for body tops. Region: North America Janka/Hardness: varies depending on state of decay Weight: varies depending on state of decay 
OSAGE ORANGE
With a golden or orange appearance, Osage Orange is pretty unique. Very similar in tone to Rosewoods, with slightly reduced bass response, but a touch more clarity. Very difficult to work with however, and due to the physical dimensions the tree grow to, only available for fretboards or sometimes necks. Region: Lower North America Janka/Hardness: 2,760 lbf (12,280 N) Weight: 54 lbs/ft3 (855 kg/m3) 
PADOUK
With it's bright red or brown colouring, and Maple like tonality, Padouk is an interesting timber. Natural oils negate the need for a hard lacquer finish, so a spot on oil keeps this feeling nice and natural. Suitable for necks, fretboards and bodies when supply allows. Region: Africa Janka/Hardness: 1,970 lbf (8,760 N) Weight: 47 lbs/ft3 (745 kg/m3) 
POPLAR BURL
Poplar has been a favourite body timber for certain manufacturers who prefer solid finishes rather than clear, for good reason. It's considered to be closer to Alder in tone, but the grain is a light grey or even green colour and is mostly unattractive. However, burled examples feature beautiful figuring, swirls, darker pockets, and a maze of interlocking lines and grain. Region: USA (east coast) Janka/Hardness: 540 lbf (2,400 N) Weight: 29 lbs/ft3 (455 kg/m3) 
REDWOOD BURL
A hard finish, generally lacquer, is highly recommended over Redwood due to it's soft nature. Used purely for decorative tops, it is not suitable for necks or fretboards. The burl features magnificent swirling patterns that will draw you in. Region: North America Janka/Hardness: 450 lbf (2,000 N) Weight: 26 lbs/ft3 (415 kg/m3) 
BRAZILIAN ROSEWOOD
The King of all tonewoods. Commercially extinct due to CITES listings, although we can sometimes obtain pieces, but it comes at a cost. Cannot be traded across international borders. However, there is NOTHING that compares to this timber tonally with it's rich, full, warm tone. Due to it's limited availability, it is very expensive. Region: Brazil Janka/Hardness: 2,790 lbf (12,410 N) Weight: 52 lbs/ft3 (835 kg/m3) 
SAPELE
Most people consider this a Mahogany, however that isn't quite true. It does have Mahogany like properties in both appearance and tonality. Whilst generally straight grained, it can be found with the rare pommele style figuring, which somewhat resembles a quilted appearance. Useful for bodies and necks, although the figured material is only suitable for bodies. Region: Africa Janka/Hardness: 1,410 lbf (6,280 N) Weight: 42 lbs/ft3 (670 kg/m3) 
CLARO WALNUT
Nice well rounded earthy tone similar to Indian Rosewood, with often beautiful brown swirling grain. Region: California Janka/Hardness: 1,130 lbf (5,030 N) Weight: 40 lbs/ft3 (640 kg/m3) 
ZEBRANO
Situated roughly in the middle of the warmth vs brightness scale, Zebrano is a good choice for tops. Its stunning black and beige grain lines are something to behold. Region: Africa Janka/Hardness: 1,830 lbf (8.160 N) Weight: 50 lbs/ft3 (805 kg/m3) |
