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Alder:
As with ash, it’s impossible to discuss alder without making reference to Fender, which first used alder prominently in the late ’50s and early ’60s. It’s a medium-weight wood, although quality cuts of alder used for guitar bodies will often weigh less than denser cuts of ash. Alder has a strong, clear, full-bodied sound, with beefy mids and excellent lows. Its highs sizzle slightly, but are rarely harsh, and it offers a decent amount of sustain. Slightly brownish in its natural, dried state, alder’s grain isn’t necessarily unattractive, but it usually isn’t particularly interesting, either. It is typicaly used under opaque finishes, but some examples can look good under darker translucent finishes. Like ash, alder is most often used on its own as a body wood.
Ash:
Best known as the wood of classic ’50s Fender guitars, ash is most desirable in the form of swamp ash—wood taken from the lower portions of southern-grown wetland trees that have root systems growing below water level. Good swamp ash is both light and resonant, and generally carries a broad grain that looks great under a translucent finish. The swamp-ash sound is twangy, airy, and sweet. It offers firm lows, pleasant highs, a slightly scooped midrange, and good sustain. Ash from the upper portions of the tree has also been used, as has harder northern ash. Both tend to be denser and heavier, and have a brighter, harder sound that might be more useful when cutting, distorted tones are desired. Ash is traditionally used for single-wood, slab-bodied guitars, but has sometimes been employed by more contemporary designers in multi-wood (or laminated) bodies—most commonly with a carved-maple top, or as the top of a semi-hollow or chambered guitar with a back made from a different wood.
Basswood:
Affordable and abundant, basswood is particularly associated with mid-level or budget guitars. But basswood is a good tonewood by any standards, and it has been used by many high-end makers with excellent results. It is a very light and fairly soft wood, and it’s light in color, too, with minimal grain. Solid basswood bodies have a fat, but well-balanced tonality. There’s a muscular midrange, but also a certain softness and breathiness. On a well-made guitar, basswood can yield good dynamics and definition with enough grind to give the sound some oomph.
Mahogany:
Alongside maple, mahogany is a classic ingredient in both slab and multi-wood (or laminated) bodies, and is a common neck wood, too. It’s also used in single-wood bodies. As for the classics, the Gibson Les Paul Jr., Les Paul Special, and SG were made of solid mahogany (with mahogany necks), and countless makers have used the wood in both solid and semi-solid designs over the years. Harvested in Africa and Central America, mahogany is a fairly dense, medium-to-heavy wood that yields a wide range of guitar-body weights, depending upon stock sources. Used on its own, mahog-any’s characteristic tone is warm and somewhat soft, but well balanced with good grind and bite. There is usually good depth to the sound, with full but not especially tight lows, and appealing if unpronounced highs.
Maple:
Used for both bodies and necks, maple is a dense, hard, and heavy wood, sourced mostly in the Northeast and Northwest United States and Canada. Maple is often used as an ingredient in a multi-wood body, where it is generally partnered with a second, lighter wood. All-maple bodies aren’t unheard of—although the weight is usually off-putting—and, on its own, a maple body produces an extremely bright, precise tone with tight lows. This light-colored wood with a tightly packed grain doesn’t always carry dramatic figuring, but some examples can be spectacular, as most famously seen beneath the sunburst finish on the carved-maple tops of some Gibson Les Pauls from the late 1950s. Maple is also one of the most common ingredients of laminates used for semi-hollow electric-guitar bodies, where it contributes tightness and clarity.
Maple/Mahogany:
This is the most popular laminated body type of all time. Adding a solid maple top to a solid mahogany back yields a guitar body that exhibits many of the best tonal properties of both woods. The solid maple/mahogany body is characteristically rich, warm, and resonant. You get mahogany’s smooth, appealing lows with good sustain, as well as the extra clarity, definition, and bite added by the dense maple cap.
Rosewood:
This highly prized tonewood is seen frequently in fretboards, and in the backs and sides of many quality flat-top acoustics, but rarely in solidbody electrics. One notable exception was the Rosewood Telecaster that Fender produced sporadically between 1969 and 1972 and was played by George Harrison. Rosewood makes for a very heavy and overly bright-sounding guitar—and an expensive one, too—that is typically more of interest for looks and novelty factor than for tone.
As with ash, it’s impossible to discuss alder without making reference to Fender, which first used alder prominently in the late ’50s and early ’60s. It’s a medium-weight wood, although quality cuts of alder used for guitar bodies will often weigh less than denser cuts of ash. Alder has a strong, clear, full-bodied sound, with beefy mids and excellent lows. Its highs sizzle slightly, but are rarely harsh, and it offers a decent amount of sustain. Slightly brownish in its natural, dried state, alder’s grain isn’t necessarily unattractive, but it usually isn’t particularly interesting, either. It is typicaly used under opaque finishes, but some examples can look good under darker translucent finishes. Like ash, alder is most often used on its own as a body wood.
Ash:
Best known as the wood of classic ’50s Fender guitars, ash is most desirable in the form of swamp ash—wood taken from the lower portions of southern-grown wetland trees that have root systems growing below water level. Good swamp ash is both light and resonant, and generally carries a broad grain that looks great under a translucent finish. The swamp-ash sound is twangy, airy, and sweet. It offers firm lows, pleasant highs, a slightly scooped midrange, and good sustain. Ash from the upper portions of the tree has also been used, as has harder northern ash. Both tend to be denser and heavier, and have a brighter, harder sound that might be more useful when cutting, distorted tones are desired. Ash is traditionally used for single-wood, slab-bodied guitars, but has sometimes been employed by more contemporary designers in multi-wood (or laminated) bodies—most commonly with a carved-maple top, or as the top of a semi-hollow or chambered guitar with a back made from a different wood.
Basswood:
Affordable and abundant, basswood is particularly associated with mid-level or budget guitars. But basswood is a good tonewood by any standards, and it has been used by many high-end makers with excellent results. It is a very light and fairly soft wood, and it’s light in color, too, with minimal grain. Solid basswood bodies have a fat, but well-balanced tonality. There’s a muscular midrange, but also a certain softness and breathiness. On a well-made guitar, basswood can yield good dynamics and definition with enough grind to give the sound some oomph.
Mahogany:
Alongside maple, mahogany is a classic ingredient in both slab and multi-wood (or laminated) bodies, and is a common neck wood, too. It’s also used in single-wood bodies. As for the classics, the Gibson Les Paul Jr., Les Paul Special, and SG were made of solid mahogany (with mahogany necks), and countless makers have used the wood in both solid and semi-solid designs over the years. Harvested in Africa and Central America, mahogany is a fairly dense, medium-to-heavy wood that yields a wide range of guitar-body weights, depending upon stock sources. Used on its own, mahog-any’s characteristic tone is warm and somewhat soft, but well balanced with good grind and bite. There is usually good depth to the sound, with full but not especially tight lows, and appealing if unpronounced highs.
Maple:
Used for both bodies and necks, maple is a dense, hard, and heavy wood, sourced mostly in the Northeast and Northwest United States and Canada. Maple is often used as an ingredient in a multi-wood body, where it is generally partnered with a second, lighter wood. All-maple bodies aren’t unheard of—although the weight is usually off-putting—and, on its own, a maple body produces an extremely bright, precise tone with tight lows. This light-colored wood with a tightly packed grain doesn’t always carry dramatic figuring, but some examples can be spectacular, as most famously seen beneath the sunburst finish on the carved-maple tops of some Gibson Les Pauls from the late 1950s. Maple is also one of the most common ingredients of laminates used for semi-hollow electric-guitar bodies, where it contributes tightness and clarity.
Maple/Mahogany:
This is the most popular laminated body type of all time. Adding a solid maple top to a solid mahogany back yields a guitar body that exhibits many of the best tonal properties of both woods. The solid maple/mahogany body is characteristically rich, warm, and resonant. You get mahogany’s smooth, appealing lows with good sustain, as well as the extra clarity, definition, and bite added by the dense maple cap.
Rosewood:
This highly prized tonewood is seen frequently in fretboards, and in the backs and sides of many quality flat-top acoustics, but rarely in solidbody electrics. One notable exception was the Rosewood Telecaster that Fender produced sporadically between 1969 and 1972 and was played by George Harrison. Rosewood makes for a very heavy and overly bright-sounding guitar—and an expensive one, too—that is typically more of interest for looks and novelty factor than for tone.
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