Wood Details: H-L

Tonewood Details: H-L

Begun as a private project, I was asked to make this available to others. For my own use, attribution was not a particular concern - which of course I regret now. If you see something you said or a photo or yours is in there, please first allow me the opportunity to properly credit it - or to remove it if you object.

Much of what has been said is highly subjective. We can post your experiences as well. My own are limited enough that they are best kept to myself. Two pieces of wood may exhibit very different characteristics; this is part of what makes wood so fascinating. And two luthiers may have differing opinions, based upon the wood they use, their techniques in handling it, and the level of their expertise. The more information that is gathered, the easier it will be to draw conclusions which help us all.

I have adopted a rating scale from the Elly Guitar site in which their ratings are given a numerical form of from 1 to 5. These numerical renditions of Highs ("H"), Mids ("M"), Bass ("B"), Sustain ("S"), Overtones ("O"), and Tone ("T") can give you a sense of the kind of sound which may be expected from any given wood. Remember, there is a vast amount of overlap and difference between each wood, each builder, and how they handle the woods. Like most everywhere here, we discuss in very broad generalities. You may wish to visit Elly Guitars and see for yourself their more graphical way of presenting this kind of material.

A click on each underlined wood takes you to a Sub-Page where photos are arranged alphabetically by wood.

Heart Rimu
"Heart Rimu is native to New Zealand, growing throughout the North and South islands. It’s growth is widespread, but harvesting (especially of the very large trees, which approach 150 ft. tall) is strictly regulated. Warm beige and gold colors are accented by reddish vertical line patterns. The density and tap-tone are similar to Koa. It is non-porous and bends, glues and finishes exceptionally well." (LMI)

   34lb/ft2 Sp. Gravity - .94

Hemlock - Tsuga heterophylla
"Not usually used for soundboards, mostly because it is hard to find a tree that is absent the pitch sipe lines usually present, that makes a soundboard unsightly. Therefor to produce, most sets are rejects because of those black sipe lines. Anyway hemlock is a shade tolerant tree, and will grow very slowly under an old growth forest canopy and survive. The result is fine straight grain that averages 20+ lines per inch. Luthier Alan Carruth purchased some of this specie of boards last time we had some in 2000-01 and did some tests to compare to sitka he had. He revealed to me that the numbers indicated that the sound board was superior. The wood is listed as 12% stronger than sitka by the USFS testing lab in Wisconsin." (Alaska Specialty Woods)

Hickory Carya sp. H=3.4, M=3, B=3.9, S=3.7, O=1.6, T=4.2
Hickory has a very high modulus of elasticity compared to most North American woods though some tropical woods have a greater MOE. In plain English the MOE is how wood bends. A higher number means more resistance to bending. It also has a high modulus of rupture. This means an ability to not break whilst bending. It has huge open grain pores that require filling with Zpoxy finishing resin. The wood bends easily, sands fine and has tonal characteristics similar to Mahogany. Hickory has a tendency to tear when planed and to become brittle as it ages and it is moderately heavy as well. Hickory has very long fibers. It's "springy", which is why it is a preferred wood for things like ax handles. With hickory, those long fibers can lead to tearout.

The sapwood of hickory is white, tinged with inconspicuous fine brown lines while the heartwood is pale to reddish brown. The tonal difference between those becomes less with age. Both are coarse-textured and the grain is fine, usually straight but can be wavy or irregular. Hickory can be difficult to machine and glue, and hard to work with hand tools, so care is needed. There is a tendency to split. It can be sanded to a good finish but can be difficult to dry and has high shrinkage. Medium texture.

Tonally well-balanced and just a bit subtle in the mids, bright-toned, like a mahogany without so many overtones.

Tim McKnight: “I have built many Hickory guitars and they have always been the first ones that have sold when we exhibit at guitar shows for some unknown reason? ... I have used it in fingerstyle and Dred bodies with great success.”

Higuerilla Micrandra spruceana. Common names: Peru; higuerilla negra, conoco,scha, Peruvian Rosewood, shiringa masha, carapacho. Columbia; yetcha, reventillo. Venezuela; cunuri.

(Most of the following is from "Forgotten Woods")
The tree grows to 35 m tall with a diameter of up to 100 cm. The main bark is made up of two layers, a compact outer one with whitish areas over gray background: and a sheeted, whitish-gray one of about 3 mm thick. When cut with an ax, an abundant and slightly sour white latex oozes.

Higuerilla is proving to be an excellent wood for lutherie, especially acoustic guitar backs and sides. It's appearance is reminiscent of traditional old world Madagascar Rosewood while it's tonal range settles in the mid tones between mahogany and rosewood, clear and bright. Pores will need to be filled before finishing.

LMI said it like this: "Higuerilla, from Peru, is an exciting new entry into our roster of tone-woods. Tonally it reminds us of Palo Escrito (the Rosewood from Mexico known for making great sounding instruments), with a bold glassy tap tone that belies the low weight of the wood. The color is a rich, firebrick red with salmon overtones and features interesting dark line figure. The sapwood is strong and stable with a light-beige color, so there is no jarring contrast, and it looks great on the sides. We are pleased to report that this fine wood is harvested with great care for the species, it’s environment and the Peruvian communities that helped bring it to market."

Roger Siminoff, author and one of the foremost authorities on musical acoustics had this to say: "Higuerilla is a richly colored hardwood ranging from light coffee to mid orange brown with dark brown stripes. When book matched, Higuerilla presents a strong and colorful linear figure for backboards. Higuerilla weighs 45 pounds per cubic foot and has moderate stiffness similar to Koa. When used for backboard and ribs, Higuerilla imparts a generally bright tone with good clarity."

It's not a Rosewood at all despite that fact that some folks use that word for it. It's properties have more in common with koa, palo escrito, or mahogany. It's stiffness compares with koa, it's density with mahogany, and it's tone with Palo Escrito. Peruvians call it higuerilla negra. It is visually striking, with a strong and colorful though lineal pattern. Bruce Sexauer: "I have seen many sets, and they are pastel colors compared to most RW's, though there is a quality almost like landscaping which can be intriguing."
45lb/ft2

Holly ilex opaca
Holly is a domestic wood that is used mostly for inlay in musical instruments. Any other use would be very rare due to the slow rate of growth and small size of the trees that are harvested. Boards are rarely wider than 10 inches. It must be cut in winter to avoid blue-stain or graying of the wood. Holly ranges in color from white to ivory. It has a very close irregular grain with little or no discernible figure and it dyes easily, which aids in its use for inlay.  4.17lb/board foot.

**Honduran Mahogany Swietenia Macrophyllia H=3.8, M=3.5, B=4.1, =3.7,=3.5, T=4
Threatened, but there are plantations. Pink yellow when sawed, but oxidizes to deep rich red or brown. Distinct yellow sapwood, can be figured. Has chatoyance. Works easily, takes a beautiful finish. Generally woody-sounding, but certain denser sets can approach rosewood. Honduran Mahogany is lighter in weight than rosewood, koa, or maple. In spite of its weight, it yields a strong loud woody sound with a quick response and an emphasis on a warm, round midrange. The sound gets better as it ages.

Adequate supply though old growth is CITES listed. 800 on the Janka scale, specific gravity from 0.40-0.68, air dry density of 30-52pcf.

Honduras Rosewood   dalbergia stevensonii H=3.7, M=3.5, B=4.2, S=3.7, O=3.2, T=3.9
This wood is the exception that proves the rule that the back wood species contributes very little to the tone of an instrument. Honduras rosewood is extremely hard and brittle. Guitars made from it have a cold, glassy sound lacking in depth. It is a wonderful tonewood that is warm, well balanced and exceptionally beautiful (I put these two sentences, quotes, together on purpose!). Many sets have a deeply veined spider-web grain similar to premium sets of Brazilian Rosewood (without being subjected to all of Brazilian Rosewood’s shortcomings). Honduran Rosewood will produce a guitar of the highest quality and one that you will prize forever. Brighter and louder than Brazilean. "Honduras Rosewood (Dalbergia stevensonii) is considered the best for making concert-grade xylophone bars, but Jamie says one wood is even more resonant." (David Montara)

This rosewood needs a bit more heat to make it bend comfortably, and it may be machined at least 10% thinner than Indian rosewood just to keep the weight down, as the wood is heavy. As with Brazilian rosewood, even coddled guitars may develop cracks in the wood.

Honduran is more of a brick red/brown/mauve in color and Amazon is similar in color to Brazilian but is usually found with less figure. Good natural luster, fine texture, oily. Although more light purple in color than other rosewoods, Honduran gives a rich complex sound with powerful volume. It has one of the best tap tones heard in hardwoods. Good projection and balance, but a bit edgy.

Hormigo Platymiscium Dimorpandrun Granadillo, Macacauba
The Hormigo is a tree that grows in humid forest zones. It is used commonly to make musical instruments, such as the keys of the marimba. Its wood is reddish with clear pigmentation, it is strong and compacted, durable and beautiful sounding when struck. It grows in Belize, Guatemala, El Salvador and Honduras. You may be amazed with the beauty of this wood. It is sometimes called "the wood that sings". Used by Collings Guitars. The knife handle business nearly made it extinct. Its appearance is similar to Cuban mahogany, but its density, stiffness, and its tone is more like Brazilian.

Horse Chesnut (Aesaules hippocatanum) "Conker tree", often confused with Buckeye
This is a soft and twisty wood, which means lots of run-out and short fibers. Those can endanger the structure of the piece. It is light-colored and can be a pinkish-brown. It has more medicinal uses than structural. Its nuts are poisonous unless boiled first.

*Huon Pine   Tasmania    Lagarostrobos Franklinii
Huon pine has a Golden Yellow hue with fine grain and aromatic rot resistant oils. The oils contain methyl eugenol which is responsible for the timber’s unique smell and resistance to rot. It is softer and heavier than spruce, requiring a fine balancing act in terms of thickness for strength yet thinness for weight.

Australian Luthier, Scott Wise has had good results with Huon and says: “Steel string guitars with smaller bodies tend to sound bigger in this wood. I first used it experimentally in the early 1980s and have had repeat orders based on the sound of those early guitars.”

The tone of Huon Pine is restrained but with tremendous sustain and great richness and depth in the overtone content over all ranges. It has very similar qualities to New Zealand Kauri in terms of headroom and response.

Hymiwood - sp. unknown
"Hymiwood has a very elaborate figure and a coloration that ranges from red-browns to gray-tans. It weighs 56 pounds per cubic foot and is a reasonably stiff wood. " (Forgotten Woods)
56lb/ft3

Imbuya   Phoebe porosa, Brazilean Walnut, Imbuia H=4.3, =3.9, B=3.7, ß=4, O=2.1, T=4
Also called Brazilian walnut, imbuya is very similar to walnut in working properties. The most astonishing thing about this wood is the spicy smell it releases when it is machined. Pleasant at first, the smell may eventually drive you right out of the shop, with more than hints of nutmeg and cinnamon. This disperses with time. Extremely fine-grained and may be hard to find. Hard and dense with a relatively tight and bright tone and with good tonal separation, yet has ample bass.

"Imbuya is becoming popular with guitar makers for its colorful appearance, tonal properties, and ease of working. Imbuya is characterized by widely varying, eye-catching figure and grain pattern. It produces a spicy, but pleasant odor on fresh cut surfaces that fade over time.   The colorful wood exhibits a variety of shades of yellow, to greenish brown, to dark brown, and black. It is a moderately dense and heavy wood, fine-textured. Tonally, Imbuya is comparable to walnut. It provides sparkling trebles and a warm midrange." (Lone Wolf)

This species grows in Southern Brazil and is sometimes called Brazilian Walnut (but it is not a true walnut). It is a colorful, fine textured wood, prized by woodworkers. The heartwood is yellow-olive to chocolate brown, sometimes gray-brown, with variegated streaks and stripes. Grain pattern varies widely, with many different figures occurring in individual boards. It is hard and moderately heavy (about 42 pounds per cubic foot). Heartwood is durable. Emits a spicy, resinous scent and taste. Imbuia does have occasional worm holes that leave a nice pattern on the wood. They are easily filled with cyano and blend in very well. It is easy to work with hand and power tools. Finishes well. Glues well. Imbuia is quickly becoming very popular. It is a promising choice for a tone wood. It is a hard, dense wood, so it produces a relatively tight, bright, tone. It offers good tonal separation from string to string, with subtle overtones, while retaining plenty of bass. Highly figured Imbuia can be very striking and will make a beautiful guitar.

Inceana acacia cyperophylla
Slow growing, usually too small, Australian wood that exhibits Koa-like figure and chatoyance in a Rosewood-like color.

Indian Rosewood   East India   Dalbergia Latifolia/Sisso, East Indian Rosewood
H=2.8, M=3, B=4.2, S=3.7, O=3.8, T=3.2
One of the most popular and traditional guitar woods of all time, rosewood takes that basic sonic thumbprint of mahogany and expands it in both directions. Think in terms of a visual spectrum in which low frequencies are on the left, and high frequencies are on the right. Rosewood sounds deeper in the low end and brighter on the top end (one might describe the treble notes as zesty, sparkly or sizzly, with more articulation). If you look at its frequency range visually, rosewood would appear to be more scooped in the middle, yielding less midrange bloom than mahogany. Like mahogany, rosewood’s vintage heritage has helped firmly establish its acoustic legacy. It’s a great sound in part because we know that sound. In some music circles in which preserving the traditional sound helps bring a sense of authenticity to the music — certain strains of Americana, for example — rosewood has an iconic status. Also like mahogany, rosewood is a versatile tonewood, which has contributed to its popularity. One can fingerpick it, strum it and flatpick it. It’s very consistent, so players can usually rely on it to deliver. Goes well with most applications. If you like a guitar with fuller low end and brighter treble (bluegrassers, for instance), rosewood will do the trick. Its high-end sizzle and clear articulation will benefit players with “dark hands” . If you’re looking for a traditional acoustic sound, a rosewood Dreadnought or Grand Auditorium is right up your alley.

Indian rosewood varies quite a bit in appearance from Brazilian rosewood, though it is still quite dark. Basically brown, but with purple, gray, brown, and sometimes red highlights, it is known for straighter, more homogenous grain lines. It is richly grained, resinous, stable and generally more consistent than most other rosewood species. It produces a deep warm reverby projective bass response that is especially marked on large-bodied guitars. The heartwood of Dalbergia Sissoo is dark brown with a white sapwood. It is a hard, durable wood which displays good stability and ease of bending. Dalbergia Latifolia has a heartwood that is purple-brown with a dark streaks. It is a hard, durable wood which displays good stability and ease of bending.

As a tonewood, Indian Rosewood has been an industry standard for the past few decades. It’s acceptance over Brazilian rosewood stems from it’s wider availability and sustainability. This wood as provides a dark and woody overtone content with a low end predominance.

This wood grew in popularity in the 1950s and 1960s as it became increasingly difficult to obtain Brazilian Rosewood in instrument grades. Some find EIR to be one of the best tonewoods on the market, and superior to its much-coveted Brazilian cousin. It has a warm, rich, responsive tone that has clear and tight bass projection without overshadowing sparkling midrange or trebles.

It has a Janka rating of 3100 and a specific gravity of 0.7-0.8

Ipe   Tabebuia of family Bignoniaceae, Brazilian Walnut, Lapacho (below)
Common Names: Ipe wood is known by many names: Ipe Brazil, Amapa, cortex, Guayacan, Flor Amarillo, Greenheart, Madera negra, Tahuari, Lapacho negro. It has a number of trade names: Ironwood™, Pau Lope™ & Brazilian Walnut... these are commercial names given to Ipe lumber by large Brazilian exporters. Some of these trade names for Ipe lumber, include not only Ipe wood, but also a number of other similar species like cumaru (Dipterix odorata) and jarrah (Eucalyptus marginata). "Ipe lumber" can be used in somewhat of a more generic fashion, rather then a singular biological description. Ipe wood is often clustered with other woods that share similar characteristics.

Distribution: Ipe wood (or bois ipe if you are French) typically grows in tropical South-central America, in a wide variety of sites, in marshes and riverbanks as well as ridge tops. Ipe trees may grow to 140 feet in height with trunk diameter of up to 6'. It is one of the tallest trees of the Amazon region.

Ipe Heartwood, is typically reddish brown, sometimes with a greenish tinge, often with lighter or darker striping. It can be covered with a yellow lapachol powder. Much looks similar to a teak wood. Ipe wood comes in good long lengths with limited warp. Sapwood is much lighter white or yellow usually removed at the mill, although small strips along the edge can be present. Ipe hardwood has no distinctive odor or taste.

Ipe wood products contains no added harmful chemicals so it can be used near water without potential contamination, although its dust can cause a number of respiratory and contact dermatitis allergic reactions in humans.

Drying: Ipe planks are reported to air dry rapidly, and can show some checking especially with thick timber like 4x4, particularly, if dried quickly in full sun. This can cause warping, especially powerful in large timber like 2x12, that can actually pull fixing screws out of pressure treated stringers... thus recommended to use 2 pieces of 2x6 instead. I have seen recommendations to use anchorseal for sealing ipe end cuts to limit end checking associated with drying.

It is one of the world’s most stable woods down to a 10% equilibrium point and then becomes very unstable below that. When installed in dry areas it will shrink considerably unless it has been “over dried” in the kilning process. Extreme care should be taken when installing this specie to purchase it only from sources who dry it properly and then to properly equalize it prior to installation.

Working Properties: Ipe lumber can be somewhat difficult to work with, especially with hand tools. Can have quite a blunting effect on cutting edges. Recommended that you use a reduced cutting angle, keep edges sharp, and always pre drill for nails or screws. Have numerous extra drill bits handy. Ipe planks do not bend well, but the wood finishes and sands quite smoothly, with no splintering.

Toxicity: Ipe boards can have a fine yellow dust on the surface that may cause dermatitis in some individuals that have skin sensitivities and/or cause allergic reactions in those who breathe it in... so wearing a dust mask is recommended. Ipe hardwood is an amazing wood, but no sense in risking your health!

Durability: Heartwood is very resistant to attack by decay fungi and termites, but not resistant to marine borers, it has the durability and strength of teak, for a lot less money. The US Department of Agriculture and Forestry rates Ipe as "Very resistant to attack by decay, fungi and termites." Ipe hardness provides natural scratch resistance making Ipe an perfect wood for exterior decking.

Ipe (Brazilian Walnut) is extremely hard, almost 3x harder than Oak. It has a fire rating of A1 (the highest possible, the same as concrete), and is denser than water (it sinks). It is increasingly popular as a decking material due to its insect resistance and durability. Ipe wood products contains no added harmful chemicals so it can be used near water without potential contamination. Recommended that you always pre-drill before installing screws.

Ipe (Brazilian Walnut) is olive brown to black often with variegated striping. Texture is fine to medium, grain straight to irregular.   As with all hardwood, there will be variations in color and grain which add to the individual character

Ipe Hardness - – Ipe harder than Hard Maple (Janka 1450) and Oak (Janka 1360) Recommended that you use name brand carbide tipped tools, keep edges sharp, and always pre-drill for screws. Have numerous extra drill bits handy.

Ipe Durability - Ipe is extremely durable to termites and fungus.

Ipe Preservation - None Necessary! Exposed to the elements, it will turn to a silver gray with age. A finisher with Ipe   is olive brown to black often with variegated striping. The Texture of Ipe wood is fine to medium, grain straight to irregular. Ipe is one of the hardest woods on the planet and an extremely popular choice for decking. Ipe Decking is perfect for exterior residential and commercial applications such as boat docks, decking, boardwalks, pool decking, foot bridges, and so forth. Ipe wood can be sealed to maintain its natural color and beauty, or allowed to weather to a beautiful silver gray color. Ipe wood is an exotic hardwood that is naturally resistant to rot, decay and insect attack.

The ipe that I have (guitar fingerboard, below) is a uniform warm medium brown and does not look at all like the other two examples I have shown.

Weight: specific gravity of .85 to .97 .. air dry density 66-75 pcf, Janka hardness: 3680 lb

Ishpingo (Amburana cearensis)
Ishpingo is a handsome hardwood with a stately curved but consistently shaped grain. Ishpingo is grayish tan in color and the darkest regions are a medium brown. While this wood weighs 41 pounds per cubic foot (not as dense as our heavier woods), it is very rigid and imparts a rich clear tone. An excellent wood for rims and backboards where an interesting but not elaborate figure is required. (from "Forgotten Woods")

"Ishpingo ... that is virtually unknown in the lutherie community, but passed all our tests for stability - and it bent easily, despite it's dramatic grain. Most importantly, it is light weight and has a round, present tap tone that, while similar to Mahogany, exceeds it in volume, crispness and complexity. ... deep, three dimensional ribbon figure. The color lands somewhere between gold and light amber. It is porous, but treated with the proper fillers...and a high gloss finish you can expect a surface of great depth and chatoyance. The icing on the cake with this fine wood is that is harvested with great care for the species, it's environment and the Peruvian communities that helped bring it to market." (from LMI)

Mahoganish tone, but on the maple side.
41lb/ft3

Isigo (Couratari sp.)
Isigo is one of the most dense woods imported, and is reddish-tan in color with modest figure and small pores. The figure has delicate lines of light and dark wood of similar shades and colors. Isigo’s stiffness and density lend itself to instruments where a bright, clear, driving tone is desired. This wood weighs 57 pounds per cubic foot. (from "Forgotten Woods")
57lb/ft3

Italian Spruce - Look under Englemann Spruce

Jacaranda    Dalbergia sp., Indonesian Rosewood
Origin: Indonesia   Jacaranda is a common name used/misused throughout the timber industry for a variety of types of wood. The Jacaranda is a type of Rosewood grown in Indonesia. Its appearance and physical properties are between Brazilian Rosewood and Indian Rosewood. The wood exhibits beautiful shades of purple, gold, and brown. Tonally, it provides the warm rich tones of most rosewoods with a powerful bass and clear midrange and treble.

Jarrah   Eucalyptus marginata
Jarrah’s red mahogany color has made it very popular in cabinet and furniture uses. In Western Australia, Jarrah is regarded as a framing, engineering or more lately furniture wood. Its acoustic properties have been ignored until recently. Scott Wise has made many Jarrah guitars and ukuleles. It always makes a loud instrument, with strong midrange voices. It often has curly grain and makes fine looking and sounding guitars.

Jarrah is grown only in South Western Australia and presents visually in a wide range of colors from dark brown to a light pink. There is a wide variety of figure types from a curl/fiddleback to a black fleck marking which can be quite bold. Due to the high percentage of "short grain" it is strongly advised that a steel slat and thermal blanket should be used during bending to prevent any fracturing. Jarrah glues and finishes well. Tonally tends to be in the mids to bass range but it would depend on what top you couple with this.

Ormsby Guitars: “its tonally dead, too heavy, and wears out your cutting tools too quickly. There is a reason no guitar makers use it, despite it being a nice looking, and easily obtainable timber.”

Peter Coombe: “It is a very hard, dense, stiff timber and is relatively acoustically dead when tapped. The timber is a beautiful deep red, or pinky red in color and is used in high class furniture and all sorts of construction work and used to be extensively used for railway sleepers. It is still readily available, cheap, not too difficult to find quarter sawn, and often comes with fiddleback figure. It is very hard on tools and has only moderate bending qualities; I find the dust quite irritating.

Jarrah, in combination with King Billy Pine, makes lovely sounding mandolins... However, the instruments are quite heavy because Jarrah is a very heavy timber, and most musicians do notice this and don't like it. Tonally, Jarrah is very strong in the bass. Mandolins made from Jarrah have a strong rich sounding bass which imparts an overall fuller tonal quality on the instrument. One maker does not use Jarrah any more because of the weight problem and being a Eucalyptus species, the wood is not particularly stable.”

COLOR: Heartwood is uniformly pinkish to dark red, often a rich, dark red mahogany hue, turning a deep brownish red with age and exposure; sapwood is pale. Frequent black streaks with occasional in- grown grain.
GRAIN: Frequently interlocked or wavy. Texture is even and moderately coarse.
VARIATIONS WITHIN SPECIES AND GRADES: Moderate to high color variation.
DIMENSIONAL STABILITY: Below average (change coefficient .00396).
DURABILITY: Dense and very strong.
SAWING/MACHINING: Difficult to work because of high density and irregular grain; carbide tooling recommended.
SANDING: Sands well, but dust can stain fabric and wall treatments.
FINISHING: Red color can bleed into some finishes — a problem when mixing species.

Janka: 1910

Jatoba Hymenaea courbaril, Brazilian Cherry
Between Maple and Rosewood in its hardness & density, as it is tonally. Jatoba is very similar to Ovangkol in its appearance, but generally has a more pronounced figure. Fabulous looking guitars with this one! Bruce Sexauer is a fan.

JW Bosworth: “Jatoba is an exceptionally hard and dense wood. It dulls steel tools rapidly. This wood will be used as a substitute for now scarce Koa since its grain and color is very similar. The hardness allows for a slightly more ringing tone than Koa.”

Someone named Kenneth A. Hintz differs: "Jatoba sounds nothing at all like Koa ... Night and day difference!... Because no respectable builder would ever make such a claim as this. Jatoba... is dense hard and heavy and wears out tools, has a cold hard sound to it less mids less sweet, and all around not the greatest tonewood for anything except for adding projection to an acoustic. And if too much Jatoba is used in an acoustic or solid body electric) it will produce an all around hard bright cold flat cheap tone!"

The wood is an attractive burgundy, deep red, or orange tone, and some of it can even have dark black stripes highlighting a strong visible grain pattern. It can exhibit quite a large color variation from one board to the next. The heartwood varies in color from a salmon red to an orange brown when it is freshly cut which darkens to a red brown when seasoned. The sapwood can be wide and is much lighter in color - either white or pink and sometimes gray and does not darken to the deep red-orange tones common with the heart wood. It is not as porous as mahogany but harder and denser. Brazilian wood has a natural luster, with a medium to coarse texture. It has no obvious taste or odor. The heartwood is rated as only moderately resistance to attack by fungi and marine borers. Although the books might suggest the wood is relatively stable once it has been dried properly, experience has suggested that every so often you'll get a few pieces of wood that really don't want to behave... they don't like to be glued and if they can twist, they will. it is not one of the easiest woods to use, but the gorgeous colors do warrant an extra bit of effort.

Jatoba sands and finishes easily. Polishing can create a wonderful luster. It stains well. Moderate steam bending rating. Can be hard to work with, having severe blunting effect on tools. It is moderately difficulty to saw and machine because of the wood's high density and toughness. Experts recommend a reduced cutting angle of 20 degrees, and the use of carbide cutters as much as possible. The wood's interlocked grain also causes some difficulty in planing. The grain can be somewhat powerful and require sharp tools to avoid tearout.

Again the books suggest that Jatoba has good gluing properties, but err on the side of caution and use waterproof PVA glues like the helmitin 805, or Titebond III that seem to have more holding power and use standard laminated parasites recommended for oily woods.

COLOR: Sapwood is gray-white; heartwood is salmon red to orange-brown when fresh, and becomes russet or reddish brown when seasoned; often marked with dark streaks.
GRAIN: Mostly interlocked; texture is medium to rather coarse.
VARIATIONS WITHIN SPECIES AND GRADES: Moderate to high color variation.
DIMENSIONAL STABILITY: Average (change coefficient .00300). However, actual installations have demonstrated significant movement in use.
DURABILITY: Dense and very strong.
SAWING/MACHINING: Sawing is difficult due to high density; requires frequent resharpening of tools. Planing is difficult due to interlocked grain. Can be machined to a smooth surface. Carbide tooling recommended. SANDING: Sands well.
FINISHING: No known problems.

Janka: 2350   Weight: 56 lbs. per cubic foot.

*Juniper
According to luthier Josh Humphrey, "The Juniper soundboard adds a unique tone- very clear and punchy notes, even and balanced with lots of bass and treble but not very muddy. ...The density (of the one I made) was very high, I would say higher than Spruce or Port Orford Cedar. In terms of density I found it to be more in line with Mahogany or Koa. Also, the stiffness, especially when compared to weight, was not as high as spruce- again, putting it more in line with Mahogany.

Tone-wise, the instrument is very fundamental focused and resonant. There is much clarity in the articulation or attack of notes- it almost has a sound reminiscent of an archtop in that regard- although it also compares with some Koa and Mahogany flat tops I have played.

Of course it smells great too!" The wood is very a striking combination of reds and yellows in wide stripes.

Katalox   Swartzia cubensis (Mexican Royal Ebony) H=3.8, M=3.5,=4, S=3.8, O=3.9, T=4
An extremely dense legume from Central America, it has been compared to and is consider a replacement for Gabon Ebony. It is even heavier, one of the strongest and stiffest woods known. Reddish-brown heartwood which darkens with time and heads towards black. Sapwood is a creamy gold. I have seen it with more of an eggplant hue and sort of quilted, with a Rorshach test kind of look. Neat looking, that was. Wavy figure is not uncommon. But most often it's straight-grained with good luster and fine even texture. I understand that it will quickly darken to just south of black/purple and if you can get some sapwood mixed in, it should be wildly vibrant. Tonally, it can be compared to Gabon Ebony as well, with deep basses, a tight upper end and strong overtones, a sonorous ring that has been likened to African Blackwood, along with an excellent sustain. Strength qualities in compression parallel to grain are exceptionally high. It is very hard - much harder (and heavier) than White oak or Hard Maple. Its great density makes it considered difficult to work. When it exhibits interlocked grain you need to watch for tear-out. Extremely fine pores and texture. Watch for tear-out. It dulls tools fairly fast. The extra density, combined with its oil content, can lead to difficulties in gluing.

BIG sound, long sustain, glassy, crystaline, absolutely clear. Has been compared to African Blackwood and Ziricote. Lively bass, bright and clear trebles, good overtones - I hear nothing but good about it. On the other hand, you can expect a heavy instrument once delivered.

Janka=3660 Sp. Gravity - 0.94 72lb/ft3

Kauri    Agathis Australis H=3.8, M=3.2,mB=2.8,S=3.5. O=2.9, T=2.5
The species is endemic to New Zealand, and belong to the Araucariaceae plant family. .. The logs are below the surface of what are usually farm fields and ranch lands. When a site is identified, permission is secured and expert operators of heavy equipment carefully expose and lift the logs out of the prehistoric bogs. They are immense, and raising the logs to the surface is just part of the job: moving them to a location to begin the milling process, and the milling itself, has necessitated some innovative equipment designs and plain old lumber man's ingenuity. It can be worked with normal woodworking tools, in the same ways you are used to working with other species. One notable difference: when finishing Ancient Kauri, special rewards await the woodworker who sands Ancient Kauri to 600 grit and higher. The wood grains and textures seem to come alive when polished to these levels. Radio carbon dating places the age of the Ancient Kauri trees that are being excavated from the northland of New Zealand at 50,000 years old. This is the maximum limit of radio carbon dating, it is probable that this wood is even older. Kauri is a warm & sweet wood with tonal qualities similar to Mahogany. It has a long sustain but lacks anything special in the low end. It often exhibits spectacular "flash" under reflected light.

Our critic Kenneth A. Hintz says, "Ancient Kauri has warm tone? maybe compared to a spooling turbojet engine! It's tone is so bright and harsh which is the main reason it does not sell like they wished it would!"

Kembang Semangkok (Scaphium spp) Samrong
Kembang has a course uneven though straight grain and is yellowish brown in the heart wood, lighter in the sapwood but with no clear line of demarcation. It is soft and moderately heavy and works easy although the silica content blunts tools. It dries very quicly but can split in the process. It exhibits a nice figure.

Kentucky Coffeewood
This wood has been used for all sorts of things, including furniture. It resembles Ash, Sassafras or Honey Locust in it's appearance and has a narrow yellow sapwood and a heartwood that is mostly brown with reds. It is hard and heavy.

Keyaki Zelkovea serrata
From Japan, their traditonal "temple wood", though it's harder, Keyaki can be considered a Mahogany substitute as it sound falls between mahogany and koa. It is easy to work, bends well, but can have a tendency to warp unless it is quite dry. It is related to Elm and may have sort of a meshed grain.

Kiaat Pterocarpus angolensis. Muninga
"Kiaat is closely related to African Padauk (both are species of the Pterocarpus genus), sharing its characteristics of being durable, extremely stable and easy workability. The wood is renowned for its great bug and termite resistance.

Although Kiaat is considerably less dense (than Padauk), it has an impressive strength-to-weight ratio which (combined with its durability) makes it a very versatile, useful wood — suitable for a great variety of applications. Its heartwood color can vary from a light golden brown to a medium brown with a reddish or purplish tint. Grains can be straight, wavy or interlocked; its texture ranges from fine to medium, with a nice natural luster. Kiaat has very good working properties, and turns, glues and finishes well." (Rare Woods SA)
Average Dried Weight: 38 lbs/ft3 (605 kg/m3)
Specific Gravity (Basic, 12% MC): .59, .60
Janka Hardness: 1,360 lbf (6,050 N)

*King Billy Pine   Athrotaxis selaginoides
The timber has a light pink hue with very close grain. It is softer than sitka spruce and has a characteristic aroma when worked. It’s physical properties is comparable to a pale red western cedar, but with greater stiffness.

It is less stiff across the grain than spruce and benefits from being left thicker on flattop construction and from a higher arch on archtops. It is used for soundboards for guitars and violins although it excels as a mandolin top. Australian mandolin maker, Peter Coombe is a big fan: “King Billy Pine is, in my humble opinion, one of the finest soundboard timbers that grows upon this earth. In my experience, it makes beautiful sweet clear sounding mandolins that many musicians prefer over the best spruce-topped instruments. It is not as strong as Spruce along the grain, so I use Red Spruce bracing, and carve the top a little higher than my Spruce tops.” The tone of King Billy Pine is sweet in the midrange with a strong bass and open trebles. It has headroom similar to redwood and responds much like cedar. It is very similar to Red Cedar and more subtle than Spruce. Great for finger picking.

King Billy Pine is an extremely slow growing species that grows only in the mountains of northwest and south- west Tasmania. The timber is light pink to yellow pink, very close grained, soft, and with a characteristic aromatic odor when worked. It's appearance and softness is similar to lighter colored Cedar, but it is stronger than Cedar. King Billy Pine is one of the finest soundboard timbers that grows upon this earth. It makes beautiful sweet clear sounding mandolins that many musicians prefer over the best spruce-topped instruments. It is also a lovely timber to work with, planes and carves beautifully and fills the workshop with a pleasant aromatic odor when worked. It is not as strong as Spruce along the grain. However, King Billy Pine is no longer harvested commercially and it is now almost impossible to get clean quarter sawn pieces suitable for soundboards The results are a little variable, probably because the wood is of variable quality. Many pieces have hidden knots, and it is difficult to get a good clean piece that is quarter sawn and with no runout.

Threatened - by bush fires. Janka rating of 1200(?), specific gravity of 0.25.

Kingwood Dalbergia Cearensis H=3.9, M=3.6,=4.2, S=4, O=3.4, =3.8
    Like a lot of the rosewoods, expect a low with lots of overtones, excellent articulation, quick response without a sacrifice in sustain. Something of a dark flavor to the sound. It is dense, hard, & smooth textured and is often highly figured and can vary strikingly in its looks. Armando from Switzerland feels it is dead in its tones, especially when slab cut. But more builders would take issue with this. Sapwood is light yellow and heartwood reddish brown to purple. High luster and fine texture. Often the logs are too small for it to be used on guitars. It can be used for necks and bridges as well. Note: there is a also a Mexican Kingwood, which is also called Camatillo, a horse of a 'nother color. This stuff comes from Brazil. David MacCubbin reports that he found the wood easy to work with, though somewhat brittle, like Brazilian. "The sides bent easily and the wood sanded smoothly. Regarding the sound, the guitar has a very warm resonance, similar to a rosewood guitar." Tones have strong highs and mids and have been called "bell-like" and reverberating. Some call Kingwood Wenge. You need to watch out for splitting.

Knysna Blackwood. also see Australian or Tasmanian Blackwood
"Knysna Blackwood originally comes from Australia. It was introduced into South Africa in the early 1800’s. Its name is a little misleading, as there are no black hues ever seen in its grains. Highly-figured lumber is not uncommon, nor are pieces with a shimmering chatoyance, reminiscent of Koa. Hardwood colors can range from a light golden brown to various dark shades of brown; streak and highlights of various differing colors is not uncommon. Sap colors can range fron tan to a dull light gray, and is clearly demarcated. Its grains can range from straight to wavy to interlocked, and its texture is typically fine, with an impressive natural luster. Other than the occasional tearout issues associated with lumber with interlocking grains, the wood is very easily worked. It turns, glues, and finishes well. We believe it is also bends easily, which — combined with its toughness and durability — has made it an historically popular wood in Australia for boat building." (Rare Woods, SA)

"Blackwood varies in colour from creamy-yellow through red-brown to dark brown. Sapwood may range in colour from straw to grey-white with clear demarcation from the heartwood. The heartwood is golden to dark brown with dark-brown growth rings. The timber is generally straight grained but may be wavy or interlocked. The wood is lustrous and possesses a fine texture. The name of the wood may refer to dark stains on the hands of woodworkers, caused by the high levels of tannin in the timber. The timber is not easy to work. It may be nailed with ease, but gluing may produce rather variable results. The wood may be stained easily and produces a high-quality finish.  It is well-suited for steambending. The timber compares favourably with stinkwood and is a very valuable and a highly priced furniture wood. It is also in demand for furniture and cabinet work, paneling and flooring. It may also be used for producing decorative veneers. It is used in boat building, decorative boxes and wooden kegs. Plain and figured Blackwood is used in musical instrument making – in particular guitars, drums, violin bows and organ pipes." (Knysma Woodworkers)Green weight:  1040 kg/m3
Dry weight:      690 kg/m3

**Koa The Big Island of Hawaii (Acacia Koa) H=3.7, M=3.5, B= 4.5, S=3.7, O=3, T=4
A tropical hardwood, koa’s tone blends the midrange of mahogany with the top end of maple. Due to its density, a new koa guitar tends to start out sounding a little bright and tight, somewhat like maple. But the more a koa guitar is played, the more the sound opens up, expanding the midrange and rewarding the player with a richer, sweeter, more resonant tone. Like Mahogany or Bubinga, it offers a crisp snappy sound with a strong midrange and sparkling high end. Good-sounding koa has a rich yet even sound, with the bass and treble equally balanced. A common mistake is when a bright player buys a koa guitar in part for its visual beauty, finds it to be too bright, and doesn’t play it enough to allow the wood to warm up. Similar to mahogany or maple but fuller and richer. Particular striking when used as a double top. It is not cheap any longer.

Wade Hampton Miller: "The thing about koa is that its density can be all over the map, so what I've learned the hard way is that trying to make definitive statements about koa does and doesn't sound like can be tricky.
Personally, I prefer the medium-density koa, which is often what you get when you find koa with dramatic color variegation... But the frustrating thing about koa is how some of it sounds magnificent and some is downright terrible. Anyway, my point is that koa varies more than most other musically viable tonewoods, and on occasion some sets made from denser wood will have a somewhat rosewood-like sound."

Goes well with fingerstylists who play more with the pads of their fingers and tend to have a meatier touch. Bright players need to be careful because of koa’s existing brightness (one might try experimenting with different pick materials). The tone may be warm and clear as well, not loud but with good projection.

Hawaiian Koa is easily one of the most sought after tonewoods available, with colors ranging from brown to gold, with rich and varying grain. Koa looks as exotic as the region it’s from. With an open pore structure like Mahogany, it needs to be filled, but works well in all respects with the usual care taken for curly figure. Curl or flame has been exhibited in Koa trees less than 20 years old and these trees grow fast. Instrument size and grade wood is rare because most of the old growth has been cut down. Luckily, Hawaiians are making an effort to plant Koa along with other native trees to help assure they will be available in the future. But until then, good wood is scarce and the rising prices reflect that.

Highly figured Koa is a prized tonewood for both its beauty and influence on sound. Koa produces a warm rich sound – somewhere between the darker sounds that Rosewood guitars produce and the clean bright sound of a Maple guitar. Increasingly, Koa is becoming difficult and very expensive to obtain in master-grade sets. This wood is likely to see a dramatic rise in price over the next several years. The wood is native to, and only grows on the islands of Hawaii.

Koa is renowned for its iridescent shimmer and luscious color which ranges from tan to warm gold with brown and black accents. The iridescence in this wood is particularly exceptional on the quarter.

Workability of Hawaiian Koa is similar to Genuine Mahogany (Swietenia macrophylla). It has open grain and works well. Since sets have curly figured grain, care must be taken when working (the same as any wood with figure).

Koa produces a predominately bright treble response with slightly less volume than spruce, but extreme beauty of the grain. Koa tops are available on special order and custom instruments. Koa is golden brown in color with dark streaks and a lustrous sheen. Koa wood occasionally develops a curly or flamed figure. It has a bass response that is slightly less than that of rosewood and treble response that is slightly less than that of mahogany. The result is a very equally balanced instrument. Kenneth A. Hintz says, " Koa is relatively soft has a tone slightly brighter than mahogany with more saturated (les gritty and sweeter) mid tones, a bit more sparkle in the treble, and even the hardest selection will cut relatively easy."

Lacewood Roupala brasiliensis   or Cardwellia sublimis, leopardwood, Northern Silky Oak
Beautiful, lustrous grain with big, silvery medullary rays. Quartersawn. The surface has zillions of tiny splinters which sand smooth.

There are a variety of "lacewoods" out there,fairly hard, medium weight (about like Indian Rosewood), nice tap tone, etc. Although rumored to be a little difficult to bend, most builders are successful with it.

Cardwellia sublimis is native to Northern Australia where it is called silky oak, but in the USA it is called lacewood or Australian lacewood. In Australia it is often called not just silky oak, but Northern silky oak or Queensland silky oak, as opposed to Southern silky oak which is the name most commonly used for Grevillea robusta (see below).

Roupala brasiliense is from South America and is properly called South American lacewood or Brazilian lacewood, but it is also called leopardwood although it is NOT the wood that is normally meant by the name "Leopardwood".

It is a dense wood with a loud, sustaining tap tone. Lacewood’s color is a warm cinnamon brown and has bold figure (the name leopard wood is sometimes used). Some builders feel that this wood contributes to a warm tone characteristic of guitars many years older.

A personal favorite for guitar tops. The grain has web-like patterns that look almost like snakeskin. The tone is terrific as well, falling roughly between walnut and maple. Lacewood has one serious drawback, however, which may be why it has been passed over by just about everybody. It’s extremely difficult to finish. It is not only very porous, which means it requires a ton of grain filler; but the grain itself is quite difficult to completely smooth out.

Lapacho look for more details under "Ipe"
From Panama, among other places. Round basses and very clear trebles, competes with Brazilian rosewood when it comes to punch and definition of voices. Superb tap tone and a collectible since only a few Lapacho guitars have ever been built. One of the best to withstand temperature and humidity fluctuations. Bends, finishes and polishes well.The wood is stiff and incredibly hard but the luthier may fill with pride when he hears the sound of the finished instrument. It is simply stunning.

*Larch Larix Occidentallis
Called Tamarack in the Eastern US, Larch is not often used. Western Larch resembles Sitka Spruce in appearance, while Tamarack can be an exciting mix of reds and pale yellows. It is harder and stronger than most conifers and unlike other conifers, its needles turn yellow and drop in the late Fall. On a scalloped-braced guitar, expect a crisp response with good projection. I would expect it would be used as a top wood only. Larch can twist as it dries and resists decay when in contact with soil, which of course should not be a concern for those who play instruments. May be splintery and brittle and you'll need to watch for run-out. I find it marks and dents easily.


Laurel
I read that 200 species use "Laurel" as part or all of their name. Some are confused with the myrtles. Hey, I'm confused. If you look at the pictures, you will find a huge variance. The common theme is that they are all beautiful. Like many trees, Laurel goes by a number of names. Some prefer to use the term East Indian Laurel, so as not to confuse the tree with the many similarly named trees. Larry Frye, writing in the Fine Hardwoods Selectorama, listed an alternate name for the tree as East Indian Walnut, probably due to its close resemblance to European walnut. Other names for the wood vary from country to country. In Burma it is called taukkyan. In India it is known as asna, mutti and sain. In Sri Lanka the tree is called cay; hatna in Indonesia; and neang in the Khmer Republic. Can I be forgiven now for my confusion?

1) Laurel is a wonderful species that is found throughout the Americas. The California variety is particularly beautiful. It possesses a tremendous tap tone and always produces top of the line guitars. Rich overtones, brilliant trebles, lively and vibrant. It is relatively cheap when compared to woods that deliver similar sound at much higher costs like Blackwood or Brazilian rosewood.

2) Indian Laurel (Terminalla celerica), not a true laurel, resembles English walnut and is sometime s considered a substitute. Light to dark brown with black lines and a striped pattern. East Indian Laurel is straight grained to interlocked and coarse textured and is heavy, moderately hard and strong. It has long been regarded one of India's prime commercial woods and is protected. According to Interwood Forest Products Inc., in the book Veneers, A Fritz Kohl Handbook, Indian laurel can only be exported from India as veneer. The attractive wood is gray or light to dark brown with black lines and a striped pattern often with fiddleback and mottle grain patterns. Its grain ranges from fairly straight to irregular. Indian laurel's uses are extremely varied. It is sliced for fine veneer and paneling and is also used for furniture and cabinetry. The heavy, compact and elastic wood is also suitable for use in its native lands for marine construction and piling, and for boat building. It is also used for joinery, tool handles, police batons and brush backs. As a turnery wood, Indian laurel excels.

Laurel Leaf Willow Salix pentandra
Not your usual US willow, it is native to Europe and Asia but is planted inthe northeast us. It only grows 35-40' tall, but has a wide spread. May be invasive and is not particular about soil type. But. I saw a guitar back that was stunning.

Leopardwood   Panopsis rebellens, Roupala montana   Lacewood
H=3.8, M=3, B=2.8, S=4.3, O=1.5, T=2.5 33lb/ft3
Leopardwood is occasionally confused with some of the lacewoods. But it's much harder, denser, and heavier (a little heavier than Indian Rosewood in weight), and darker. It finishes nicely, but there's a rumor that it's a little tricky to bend. Rich, lots of depth... beautiful! Several good comments at a recent NAMM show: "surprisingly heavy," "hard," and "good tap tone!" Pronounced low-mids, clear high-mids, slightly dark, warm and round. The sound warms as it ages and falls between Maple and Claro Walnut with a good treble. Short on overtones, long on sustain, but good clarity between the notes of chord. It's a relatively dense wood that imparts a clear midrange and crisp trebles while retaining warmth.

Coarse texture, straoght grain, fairly hard and it works easily, producing a lustrous finish. It is not seen often but can be found.

This South American wood has an appearance VERY similar to Roupala brasiliense (South American lacewood) but can often be distinguished from it with a small amount of experience --- it is cinnamony, darker brown in color with a bold figure and is harder and heavier and with a noticeably finer texture. The sapwood is reddish-brown while the heartwood is more chocolatey, Spots in the wood are a lighter brown and give it is unique look and feel,. It may be pale pink with a silvery sheen. When quarter-sawn, it may exhibit a prominent flakey grain patterns, which can vary fro0m a small lace-like to a large sort of "splashy" figure.

It is sometimes called lacewood just as lacewood is sometimes called leopardwood. I believe it is used more with electrics than acoustics.

Lignum Vitae   Guiacum officinale, also called Palo Santo, Guayacan, Ironwood
H= 4, M=3, B=4.2, S=4.2, O=3.3, T=4
Lignum Vitae is probably the world's densist wood at 79 lb/cubic foot. The density does vary. It sinks in water. It is also possibly the hardest wood, with a Janka rating of 4390. It has been called "not resonant" and is, not surprisingly, difficult to scrape and carve. It is oily, hard to glue and to finish, but does polish well. Make very shallow passes, as it may tear out easily. Grain is interlocked and the wood exudes a fragrance. Endangered, it is correspondingly expensive. Small trunk size makes pieces big enough for guitars very rare. The heartwood is olive to black and will occasionally exhibit a reddish hue as well. Fine textured and oily, capable of a fine luster.

The color darkens with age and may be light brown or yellowish/olive. Pete Seeger's banjo's long neck was made from this.

Most commonly found is "Argentine Lignum vitae," which is in the genus Bulnesia. True lignum vitae is in the genus Guaiacum and comes from the West Indies. There are two species of Bulnesia commonly on the hardwood market that get sold either as lignum or as verawood. It has been a long time since anyone has seen a board of true lignum vitae big enough for sawing guitar sets, and it has been CITES listed since 2003 (one of the Bulnesia species got listed in 2010). Commercial hardwood suppliers ought to be more specific about which genus the wood is from. Lignum vitae is in fact a pleasure to carve because of its density, hardness, and above all, waxiness. It cuts very smoothly and is unexcelled for holding carving detail. (paraphrased from Howard Klepper) It has a clear and crisp sound and has exceptional sustain.

Linden (see "Basswood)

Locust (Black locust - robinia pseudoacacia, Honey Locust - gleditsia triacanthus)
Black locust has a creamy color, even goldish or greenish. May be easily ebonized (turned black by treating with vinegar). Normally plain in appearance but figured and 3D wood can be found. According to Harold Dickert, its "the medullary rays reflect light almost like a reflector in a cars tail light." It's tap tone is almost indistinguishable from most of the Rosewoods. The Honey Locust is a different Genus but both are Legumes, as are Rosewood and Koa. The Honey Locust I have come across is slightly softer and less dense. In fact the tap tone is more like Koa. The medullary rays in quartered Honey Locust are quite pronounced and also reflect light. People shown this guitar body to are blown away by the moving patterns in the wood as you turn the guitar in the light. The color bands across the surface do appear similar to the way they appear in Koa but the over all color is more pinky or flesh tone than the goldy/brown of Koa. Both of these wood bend nicely, and work well. Early North American pioneer culture used Black Locust as the alternate to Ash for anything that needed to be steam bent; snow shoes, lacrosse racket, Windsor back chairs, canoe gunnel, etc, so there you go, it makes great guitar sides." One of the hardest North American woods, it has a Janka rating of 1700; when fully dry, it is extraordinarily hard. Can be used for fingerboards, bridges as well as back and sides.

Northwood Figured Wood: " Black Locust is a tough wood with a willingness to be steam-bent. Its color, different from many of the other woods we carry, ranges from greenish-yellow to dark brown. Its grain is open, dense, and beautiful. It is stable once it's cured.Somewhat similar in appearance to Black Locust, Honey Locust is technically in a different genus, (Robinia and Gleditsia, respectively), and telling the two apart is somewhat similar to separating White and Red Oak - the pores of Black Locust are packed with tyloses, while they are absent in the pores of Honey Locust. Honey Locust heartwood is a medium to light reddish brown. Wide sapwood is a light yellow, clearly distinguished from the heartwood.
Both Black and Honey Locust can be challenging to work with because they are extremely hard, but they are prized because the heartwood is rot resistant and long-lasting. We find that if you take your time in turning it, it turns well, though it helps to use sharp tools if you are new to working with it."

John Arnold has used it several times. He says," I have built two BL guitars, and both were as good as any I have made. The wood is plain, but it does have a lot of luster, meaning that it stains well. I used walnut stain for those two guitars, but I prefer the golden brown that the wood eventually attains through natural oxidation.  It is difficult to get QS backs because the trees are relatively short-lived. The larger logs I have acquired generally have heart defects, particularly heart rot and ant colonies. It is an excellent material for bridgeplates, because it has the stiffness and hardness of a rosewood, but less weight. On occasion, I have used BL for back braces and the upper transverse brace. It is extremely stiff and very stable. Those are the reasons I like it for structural elements.... BL would be my first choice for the center laminations."

A set of torrified back and sides that Tim McKnight had done surprisingly returned a dark brown. This has been known to happen to other torrified woods.

Longan    Dimocarpus longan
A sub-tropical fruit tree in the soapberry family found in southern Asia, Longan is a visually stunning hardwood with a density similar to Cocobolo. It projects lush mids and very rich highs. There is much information on the fruit on the internet, but virtually nothing on the wood itself.

*Lutz Spruce     Sometimes called picea lutzii, but is actually a hybrid (Englemann +White Spruce) H=4, M=3.7, B=4.5, S=3.5, O=3.2, T=3
Lutz combines the size, strength and stiffness of Sitka and the texture and lustre of Engelmann/White Spruce, but with a higher volume ceiling. It is both responsive to a light touch for fingerstyle as well as able to handle a good strum. Creamy white though slightly darker than Englemann but still a lot more on the white side than Sitka Spruce. It may exhibit darker bands, They tend to have the best stiffness to weight ratio but it is not always light, it varies as all other wood, covering about the same range as Euro. As for damping, seems to have a hair more than the best Euro. Naturally, it grows in a small area of British Columbia up into the Alaskan panhandle.

Guitar Garden: "To my ears, a Lutz Spruce top adds warmth akin to Engelmann Spruce, but has greater headroom than Engelmann Spruce. In other words, the guitars that I've had with Lutz Spruce tops generally handle strumming better than their similarly sized Engelmann Spruce topped bretheran. Yet the Lutz Spruce topped guitars handle finger style well, which makes them quite versatile. Again, to my ears, Lutz Spruce does not seem to enhance or create overtones. Based on my experience, I don't notice more or less overtones when comparing Lutz Spruce to Engelmann Spruce to Sitka Spruce. In fact, the Lutz Spruce sounds "crisper" than Engelmann Spruce, although not as "crisp" as Sitka Spruce. My impression is that overtones are largely the realm of the wood used for the back and sides, e.g., both EIR and Ovangkol generate more overtones than Mahogany."

Tim McKnight: “I have built several with Lutz (which is a hybrid of Sitka and Engelmann BTW). I find that it sounds more like Sitka than Engelmann. It can range from creamy white to striped with the salmon > tan bands that is common in lower grade Sitka. All of it that I have used and in stock has little runout with gorgeous cross grain silking or medular rays. Currently there are only two suppliers / sawyers that I am aware of that harvest and supply it....There are several well known luthiers who are really going gah-gah over Lutz. They are saying things like "it shares many of the vintage tonal traits of the best pre-war guitars" to "it rivals the best Euro spruces that I have ever used". It is one of the newest tonewoods to hit the scene in recent years and it is a great tonewood. It isn't the end all of them but just another fine option to consider.”

Lychee Litchi chinensis
An evergreen tree which normally iis less than 50' tall, though it can grow to 100', Lychee is a member of the soapberry family which grows in southrn Asia, especially China. Downed trees are sometimes repurposed for lumber. The fruit is too popular to sacrifice a bearing tree. It has been cultivated for 1000 years.

Expect lush mids and rich highs.The wood is extremely dense, difficult to work without sharp blades. The unique wild character of the grain makes it worth using for any high end woodworking intended to last for generations.

Go to Woods: M