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> '"I believe that the tonal quality of a one-piece body is better because the neck and bridge are mounted to a single piece of wood -- not two side-by-side pieces glued together. Generally, two-piece bodies were glued and joined down the center, a technique that affects a guitar's resonance."'

So, a three-piece body solves his objections to two-piece centre-join, right? Personally, I wouldn't give a thank you to a one-piece body, and much prefer a two-piece centre-join. A two-piece body is much more stable, and that is especially important for some wood choices.

In respect of a half-and-half sandwich, if you are concerned about a two-piece centre-join with a thin layer of glue on a thin section, you should be very concerned about the strangling effects of a spread of glue across the whole face of the body's middle. And the resonance of such a body is severely compromised compared to other approaches. Furthermore, if the two halves were different woods, the top half would be dominant. Such an approach is thoroughly discounted, especially theoretically. While not necessarily/strictly the case, if Fender started joining bodies across the faces, instead of at the sides, they'd be somewhat rightly accused of plying the bodies. And the argument that a body with a thin veneered top or even a thick, Les Paul-type top, sounds good does not hold logically against the fact that it could well have sounded better or otherwise even more resonant.

IMO, RMosack is thinking straight here and proffers an interesting experiment. It's not uncommon for three-piece bodies to be made up of two types of wood. It is known that the centre-piece imparts the most to the tonal equation, and that the wings impart significantly less. This is logical on the basis that the centre piece is joined to the neck and is under the string path. I think RMosack's idea holds up in theory, but I think in practice has been considered either of little or no advantage, or even problematic. Finishing issues would be enough to put the majority of builders off, and I'm pretty sure the centre piece plus wings and stringers approach originally arose out of artistic/aesthetic considerations, and I doubt that most would consider two different woods joined down the centre to be aesthetically pleasing. Of course, one could paint the body uniformly, so that leaves us with tonal considerations, and one could either end up either with something complementary or a collision. I think one would certainly have to choose carefully.

Personally, I see little potential advantage and no way of proving anything without the right equipment. All one could hope for is a guitar that doesn't sound bad.