Brazilian Rosewood Full Set - Call for Pricing

Brazilian Rosewood, almost universally regarded as the best sounding wood for acoustic guitars.  Because of its scarcity and desirability, there are lots of myths and mysteries associated with it.  When talking about Brazilian rosewood and American guitar making, the conversation starts with the Martin Guitar Company.   Because Martin used Brazilian rosewood throughout most of their history, it became the wood that most builders wanted to use on their own finest models.  Martin switched to Indian rosewood, a tonewood that builders have been using for decades.  But, thanks to the sudden scarcity, guitars made of Brazilian became instant collector’s items.

According to Dick Boak, the director of Martin’s artist relations and publicity, “Brazilian rosewood was chosen for its beauty; it was an extremely stable and tonally appropriate choice for back and sides on any musical instrument.”  When Boak was asked by a reporter for the Fretboard Journal, the guitar builder’s choice in magazines, “What determined a good-quality, or Martin-quality, back-and-side set?  What were they looking for back then?”  “They were looking for quarter cutting, which was chosen for its stability.  A flat sawn or cathedral cut is prone to cracking right down the middle of the cathedral grain.  It probably does not have the stability or longevity of stiffness as quarter cut.”

In the world’s greatest Martins, Brazilian rosewood and Adirondack spruce, scalloped bracing – everything came together to produce the finest instruments, the Stradivariuses of the guitar world.  That was the golden age, and what most modern luthiers are trying to copy, either tonally or exactly.  Because of its now rarity, some guilders are getting $20,000 and above for a Brazilian rosewood back-and-side set.

Why, indeed is the Brazilian rosewood the most sought-after wood for quality instruments?  Well, “if you pick up a Brazilian rosewood fingerboard and hit it, it goes ‘Ding’,” says Paul Reed Smith in the Fall 2008 edition of The Fretboard Journal.  It becomes immediately obvious to any guitar builder, when listening for the tonal quality of wood.  Paul Reed Smith demonstrated to a reporter that when a blank guitar neck made of Brazilian rosewood was hit, “in its raw form and it sounds just like a marimba.   It ‘Rings’!”

Working with Brazilian rosewood can be a lot of work because, depending on how stiff the piece of wood is, it can be extremely difficult to bend or it can crack very easily.  Experienced luthiers know to soak it for six or seven hours before attempting to bend it for the guitar sides.  There are enough oils in the wood that the wood is also stable.  Usually the guitar builder will add finish on a piece of wood to keep it stable during different changing temperature and humidity conditions.  With rosewoods you don’t really need to do that.

Is Brazilian rosewood the best wood to use for building a guitar?  Brazilian is what has been valuable thorough the history of reselling guitars. And that’s thanks to the Martin Guitar Company because some of their most coveted guitars are of Brazilian rosewood.

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The U.S. handmade-guitar industry has exploded over the past 30 years. Here’s how to find a craftsman to build your ideal custom instrument.

By Bob Frick

July 2004

As far out as it may seem, a generation ago it was virtually impossible to lay your hands on an acoustic guitar hand-made in the U.S. But now, while other artisan industries have been automated out of existence (or exported to countries with cheaper labor), American guitar making flourishes.

Peace, love and lutherie

The group responsible for the custom-made industry, which includes more than 3,000 luthiers in North America who make about 150,000 guitars a year, can be described in one word: Hippies.

Until the 1960s, most acoustic guitars in the U.S. were made in factories owned by Martin, Gibson and a handful of other companies, explains Tim Olson, the founding editor of The Guild of American Luthiers’ American Lutherie.

Then hippies came along, who, Olson says, weren’t concerned with making a lot of money. Instead, they saw making guitars as a way of life. “They didn’t come at it from an angle of ambition. It was more of a free-spirited curiosity,” he says.

Lucky for the fledgling handmade guitar industry, Gibson and Martin made some of their worst guitars in the 1970s (both have had major comebacks since then). That, combined with the folk music revival, increased demand for good acoustic guitars, and allowed the handmade guitar industry to put down roots.

And the industry continues to grow robustly thanks to one trait from its hippie past — cooperation — a trait that remains the driving force behind the industry’s culture. Leaf through a copy of the industry Bible, Acoustic Guitar magazine, and you’ll find ads for workshops taught by the top luthiers. Guitar makers swap techniques, which shores up the entire industry, creating more demand and more opportunities for more luthiers.

Cooperation extends to big manufactures as well, says Rick Davis, a guitar builder who is the head of the Association of Stringed Instrument Artisans. The manufacturers have recently started hiring custom builders to help design new models, he says.

The case for custom

Custom-made guitars fall into two general categories: Those made as art for art’s sake (check out Beyondthetrees.com for examples from luthier/artisan Fred Carlson), and those made to suit an individual musician. Davis says guitar players often choose to commission a handmade instrument as “a matter of feel. A customer might say, ‘gosh I love the way Martins sound, but I hate their neck. I love way Taylors play, but I don’t like the sound very much. So I want a Martin with a Taylor neck. A custom maker can do that.’”

A custom maker also cherry picks from a woodpile to select only the best pieces. And, Davis says, a custom maker can take advantage of the wood’s individual qualities. Factory-made guitar tops (the most crucial piece of wood for a guitar’s tone) all have the same thickness, Davis says. But “every one of my tops is probably a little different, because I’m shaving off a couple of thousandths at a time, looking for that absolute moment when it just lights up and says, I’m there.”

A custom maker can also add inlays that you choose or design.

The cost of a custom-made guitar starts at around $2,000 — though the average price falls between $3,000 and $5,000 — and runs up to $50,000.

Meet your maker

But there’s more to buying a custom guitar than just price. It is a major commitment of time. Craftsmen often have a backlog of months or years. The more in-demand their skills, the longer you’ll have to wait. Small shops and few, if any, employees mean productivity is often limited to 12 to 20 instruments a year.

Your first step as a potential buyer should be to learn about guitar making yourself. Find out what goes into building a guitar so can better communicate your needs, and understand the luthier’s questions. Also be ready to describe your playing style — do you prefer flat picking, open tunings, what string gauge do you prefer?

Next, attend a guitar show where you have the best opportunity to look, listen to and play a variety of custom guitars. Take the opportunity to meet and speak with the builders. Some upcoming events include:

• The Newport Guitar Festival, August 6-8 in Newport, R.I. (www.newportguitarfestival.com).
• The Guild of American Luthiers’ annual convention and exhibition, July 7-11 in Tacoma, Washington (www.luth.org).
• Healdsburg, Calif., guitar festival, August, 2005 (www.lmii.com).

You can also browse the Web to find luthiers near you. You’ll find lists of guitar makers on both the Guild of American Luthiers and the Association of Stringed Instrument Artisans Web sites.

Look for craftsmen who specialize in the type of guitar you want. Then ask for references. Talk to the musicians who play the instruments to make sure they’re satisfied with the workmanship.

Confirm the price and methods of payment. Most custom guitar makers typically expect half up front and the rest on delivery.

And finally, find out what happens if you’re not satisfied. With most makers you’re stuck, but some may offer a limited money-back guarantee.

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