I have a large selection of common and more exotic woods. My base price includes a choice of wood from the Standard group below. In addition, I have some nicer wood available for an upcharge of $100 to $3750, depending on the set. The Premium group below has woods for an upcharge up to about $1000. For those wanting a guitar from something even rarer, I have woods available in the Reserve group, which carry a significant upcharge.


Standard Woods:

EIR (3A), Black Walnut, Bubinga, Mahogany, Curly Big Leaf Maple (4A).


Premium Woods:

EIR (4A), Curly Black Walnut, Persian Walnut, Big Leaf Maple (5A), Basic and Curly Koa, Curly Mango, Myrtle, Curly Sapele, Curly Red Oak, Black Locust, Sycamore, Flamed Movingui, figured and spalted Myrtle, Swartzia Wamara, Tineo, Cocobolo, African Blackwood, Malaysian Blackwood, Brazilian RW, Madagascar RW, Indonesian RW, Ziricote


Reserve Woods:

Brazilian RW, Madagascar RW, Bastogne Walnut, 'The Tree' Mahogany, Uber Quilted Sapele


For soundboards, I typically use the following and have all available in various grades:

Sitka, Adirondack (Red Spruce), Lutz, Italian Spruce, Port Orford, Western Red Cedar, Salvaged Old Growth Redwood, Butternut (yes and nicely QS)

You can view the tonewoods I have in stock by clicking the Photos button below.

Each species of wood I stock has an ability to influence the sound and character of the guitar. Even within a species, different samples can have different tonal characteristics. A quick search on the internet can provide a wealth of information on tonewoods, so I won't go into detail here. Though each wood has unique character, a great sounding guitar can be built out of anything I carry.

Below is a brief categorization of my back and side woods based on the ability of the wood to color and sustain the sound:

Tier 1: The Rosewoods (Brazilian, Madagascar, East Indian, Indonesian, Cocobolo), African and Malyasian Blackwood, Swartzia Wamara, and Ziricote

Tier 2: Bubinga, Koa, Walnut, Oak

Tier 3: Mahogany, Sapele, Movingui

Tier 4: Mango

Tier 5: Maple, Myrtle, Sycamore

If you are looking for a guitar that has darker overtones, longer sustains, use a wood from the upper Tiers. If you want a warmer sound with some sparkle, use a wood from the middle Tiers. If you want minimal overtones with crisp, bright sound, use tonewoods from the lower Tiers.

Choice of wood for the soundboard will have a very noticeable effect on the sound of the guitar. Again, the internet can provide hours of reading on woods for soundboards. I will add a few of my observations below:

Adirondack (Red Spruce) - My personal favorite due to its ability to hang the notes out in the air regardless of the player's attack. This wood is difficult to get with even color, and tighter grain is becoming more of a challenge to find. A top with streaking and wavy grain can cost considerably more than an even toned Sitka top. But if you can live with the natural variabilities, this is a great soundboard wood for any style of player from fingerstylist to flatpicker.

Sitka - Another great wood that is amongst the stiffest spruces. This wood has very even coloring and often very tight grain. Sitka delivers good volume and responds extremely well to a pick and a strong attack.

Lutz - I get this wood out of Canada and have found it makes a very nice soundboard. I have heard from players that Lutz exhibits characteristics of both Red Spruce and Sitka. I don't think it excels quite as nicely as Red Spruce when played with a lighter touch, but I believe it does a better job than Sitka. The wood I have is AA with pinkish streaks.

Englemann and Italian Spruce - I have used each of these woods and find them very similar. These woods are softer than sitka and red spruce but still have good stiffness. I have paired it with both walnut and koa with great success, and the tone tends to be more on the lush side.

Port Orford Cedar - This wood is not a true cedar, but rather a cypress. It has a very fine texture, stiff grain, is light, and is quite stable. I put this on a rather shallow body L-OO, and it provided very good volume for such a limited body size and was quite responsive to any kind of attack.

Western Red Cedar - A beautiful wood that is both warmer looking and warmer sounding. It is not as bright as the spruces and doesn't respond well to a strong attack, but for a player with a light touch looking for an intimate guitar, this is a great wood.

Redwood - This wood is much like Western Red Cedar but with better dynamics and more headroom. It still has a warm sound but will respond better to a stronger attack than cedar, delivering more crispness at higher volumes.

Butternut - I don't believe butternut is being used much in acoustic guitars, especially as a soundboard. Having used it recently on a Black Walnut OOO, the feedback has been extremely positive. The butternut is a gorgeous change from the norm for a top. Folks who have played the guitar have stated the sound is a bit like Mahogany but with much better balance and more overtones. Though the guitar has very good volume, I have found that butternut does not like to be pushed. A heavier strum or attack seems to muddy the sound rather than increase the volume. In this respect the wood is a bit like cedar. I would love to use the wood more frequently as it truly makes a great sounding guitar.

White Pine - I used this wood several years ago on a Pure Michigan L-OO. The guitar had nice punchiness with good volume. A video of the guitar with this soundboard is available here.