Materials

One of the most important factors in guitar construction is the very wood with which you are building your guitar. For acoustic guitars, the wood choice is particularly key as that dictates a great deal of the tone produced by the instrument. However, as I am building an electric guitar, wood choice is less about tone – although still a factor – and more about its material properties; how easy it is to work with, how resistant it is to bumps and bruises, and how well it takes to materials like wood glue. As I am also undertaking this build on a budget, cost will play into my decision.

Here, I will be evaluating the potential materials for the three components which make up guitars: body, neck, and fretboard (AKA fingerboard.) I shall look at advantages and disadvantages to each before scouting out an appropriate place to source the materials.

Metrics I will be using in regards to weight and hardness come from wood-database.com, a fantastic site gathering information on as many species of wood as possible. They measure weight in as controlled an environment as they can, weighing the wood samples at 12% moisture content, so that each wood is under the same conditions, therefore ensuring an accurate result. For hardness, they utilise the Janka Hardness Rating, a very useful tool for comparing how sturdy certain woods are. A brief explanation from their website:

The actual number listed in the wood profile is the amount of pounds-force (lbf) or newtons (N) required to imbed a .444″ (11.28 mm) diameter steel ball into the wood to half the ball’s diameter.

(Meier, n.d.)

Body

Alder
  • Balanced tone, with a dense grain allowing for great clarity.
  • Commonly used in Fender bodies due to its ability to work well with different genres and playing styles.
  • Price is on the lower end of the scale, compared to other popular woods.
  • Very easy to work with, and particularly easy to sand. Excellent gluing, finishing, and dyeing properties, however its softness makes it susceptible to dents and scrapes.
  • Janka Hardness: 650 lbf (2,890 N)
  • Average Dried Weight: 33.3 lbs/ft3 (535 kg/m3)
Ash
  • Bright sound with resonance across the board, slightly scooped mids.
  • Predates the use of alder in Fender guitars, still used today in certain models.
  • Harder to come by than alder, leading to a slightly higher price.
  • Good to work with using hand tools or machines, and responds well to finishes, glue, and dyes.
  • Janka Hardness: 1,480 lbf (6,580 N)
  • Average Dried Weight: 42 lbs/ft3 (680 kg/m3)
Basswood
  • Simple, balanced tone that leans towards a warmer sound.
  • Despite its low price tag and lack of distinctive character, it has still been used by the likes of Joe Satriani and Steve Vai, indicating some value in its quality.
  • One of the cheapest possible options.
  • Easy to work as it is one of the softest and lightest tonewoods, however this also means a vastly decreased resistance to damage.
  • Janka Hardness: 410 lbf (1,820 N)
  • Average Dried Weight: 26.0 lbs/ft3 (415 kg/m3)
Mahogany
  • A warm tone that excels in the bass to low-mid range, it also possesses great sustain.
  • Favoured by Gibson over the years, it has a storied history with electric guitars.
  • Due to its origin outside of Europe, it comes with a higher cost.
  • Typically pleasant to work with, although it can dull cutters. Sanding with ease, it takes glues, finishes, and dyes well.
  • Janka Hardness: 900 lbf (4,020 N)
  • Average Dried Weight: 36.8 lbs/ft3 (590 kg/m3)
  • Also sees usage in the neck of electric guitars.
Maple
  • Bright tonal qualities that pronounces the upper-mids and high frequencies, whilst offering reasonable sustain.
  • Rare to see solid body guitars due to its weight, most maple is used in the neck, fretboard, veneers, and laminates.
  • Fairly easy to work with, however maple has a tendency to burn when being worked on by high speed cutters. Glues and finishes well, but staining can lead to blotchiness.
  • Janka Hardness: 1,050 lbf (4,680 N)
  • Average Dried Weight: 38 lbs/ft3(615 kg/m3)
  • Also sees usage in the neck of electric guitars.
Poplar
  • Well-defined but unremarkable tonal qualities, with relatively low sustain.
  • Although not as popular as other woods mentioned, it has its place in the world of tonewoods, and finds itself being used by household name brands at times.
  • Commonly available within Europe, a relatively cheap option.
  • Easy to work with, although it has been known to develop fuzzy surfaces. Has a tendency to warp when drying.
  • Janka Hardness: 460 lbf (2,020 N)
  • Average Dried Weight: 24 lbs/ft3 (385 kg/m3)

Fretboard

Rosewood
  • Rich warmth in its tone, and an ability to smoothen out harsher tones.
  • Extensively used in the industry, it is seen everywhere.
  • Great durability over time and resistance to staining.
Ebony
  • Providing a bright tone, it also has quality in its great sustain.
  • Seen plenty of usage over the years, everywhere from high-end acoustic guitars to the electrics of heavy metal guitarists.
  • A wood that lasts, it is durable and has a high natural oil content, meaning one has far less work to maintain a good ebony fretboard.
Maple
  • Distinct brightness in its tone that complements most other tonewoods.
  • Predominantly seen alongside maple necks, this wood is often chosen due to its tone and its appearance, offering striking options with its colour and curls.
  • Not quite as durable as other options, leading to blotchiness if not properly maintained.
Richlite
  • Balanced tone, offering fine quality without any real highlights.
  • Developed by Gibson in the 1990’s, this synthetic material offers a sustainable alternative to wood, without any real drawbacks.
  • Incredibly durable; scratch, heat, and stain-resistant; as well as not requiring any upkeep in oils or finishes.

Conclusion

After researching a good amount, I have narrowed down my potential wood choices. For the body, I was initially thinking of using mahogany due to its sturdiness, its popularity in luthiery, and its ease of use in the workshop; however I am leaning away from it now after finding alternatives and seeing its price point. Instead I will look towards alder and ash. If I am able to source good quality mahogany in the same price range as alder and ash, however, I may still opt for my initial choice.

Guitar necks have much less variety than bodies and fretboards, which instantly narrowed down my options. Maple looks to be the more difficult option when it comes to working with it, however its reputation precedes it. I am open either mahogany or maple so the source I receive my blank from will be the deciding factor, considering availability and price.

Last but certainly not least: the fretboard. It may have a greater initial cost than other choices, but the benefits of richlite are numerous. Its durability is second to none due to how it’s produced, and it requires no maintenance, saving money further down the line on guitar care products. I wish for a black fretboard, so for all woods other than ebony, that would require more funding and time spent on that process. However, Richlite can be purchased in black already, saving me the trouble. It is also sustainable and can stand up to scrutiny when head to head with the traditional tonewoods. It is an all-rounder and the ideal choice. That said, should I find myself short of time once I create my action plan, I may have look for alternatives as pre-built Richlite fretboards are incredibly rare. Ebony, due to its colour and durability, will be my backup choice.

Information sourced from: