The importance of the tone wood used for the body back, body top, neck and fretboard varies for each of us because we have precisely different goals and expectations of our project guitars. You may be familiar with the term "ranking" as it applies to estimating. To understand the relative importance of the wood choice you have to rank properties of the resulting guitar.

For example, how important is the look of the guitar to you? Do you love a finish that shows off the grain or do you like a solid color or metal flake finish?

How about sustain? If you have always wanted sustain like Carlos Santana then a heavier, denser wood will be a better choice than a softer, lighter wood.

How about the portion of accoustic sound present? Do you want a rock guitar that has very little tone unless plugged in to a driving amp or do you want to have a fair amount of sound emitting from the guitar itself? If you want more accoustic sound you might choose a spruce top over a hollow guitar and add an "f" hole. This why wood choice and bracing design is so important in accoustic guitar building.

How about the envelope of the sound note by note? Do you like a warm, smooth sound or do you prefer a lively sound in which the notes jump off the fretboard? The latter is often associated with a one piece maple neck while the former would use a rosewood board.

How about dark versus bright? Mahogany is known for being not too bright. Maple is brighter. Swamp ash is brighter and has very full lows but not as much in the midrange as mahogany or maple.

How about looks? Have you always dreamed of a flamed top or curly top? If so, you can find that more easily with maple.


I am currently in the decision mode myself as I will be putting together another project guitar very soon. This time I want a guitar that I will use for traditional jazz, smooth jazz, blues, and latin rock. Basically, from Herb Ellis to George Benson to Robbin Ford to Carlos Santana. Three things very important to me are (1) 1st-2nd strings must not sound too thin; (2) low notes must not be muddy; and (3) sustain. I plan to use a hollow T-style in lightweight swamp ash with a mahogany top. I am undecided on whether to use a one piece maple neck or maple neck with Pau Ferro fretboard. I am undecided whether to use two humbucking pickups or two P-90s. I'm leaning toward a Charlie Christian in the neck and a hotter P-90 in the bridge.