East Indian Rosewood Tonewood
Guitars are made of numerous different parts, many of which are made of wood. The choice of wood in the guitar body (the solid body and laminate in electric guitars and the sides, back and top of acoustic guitars), neck and fretboard all contribute to the overall playability, feel and, of course, tone of the instrument. Since rosewood is used in the construction of guitars and basses, it’s worth investigating whether it’s a good tonewood or not.
Is Rosewood a good guitar tonewood? Rosewood is a hard tonewood with open pores. It offers a full-bodied, warm tone with remarkable resonance, sustain and volume. Rosewood is most common in fretboards and acoustic guitar backs/sides but is too heavy for widespread use in necks and solid bodies.
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In this article, we’ll discuss if and how rosewood tonewood is used in electric, acoustic, classical and bass guitar construction with a keen focus on its tone.
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Rosewood comprises many different tonewoods, though real rosewoods belong to the genus Dalbergia. Though some guitar manufacturers may state that rosewood is used in their designs, it may not technically be part of the genus Dalbergia. The most common genuine rosewoods we’ll find in guitars are East Indian, Brazilian and Madagascar rosewoods. East Indian rosewood (Dalbergia latifolia)
- Brazilian rosewood (Dalbergia nigra)
- Madagascar rosewood (Dalbergia baronii, greveana, madagascariensis, monticola)
- Yucatan rosewood (Dalbergia tucarensis)
- Honduran rosewood (Dalbergia stevensonii)
East Indian rosewood (Dalbergia latifolia) is also known as Bombay blackwood, roseta rosewood, Indian rosewood, reddish-brown rosewood, Indian palisandre, and Java palisandre, and is native to southeast India.
Brazilian rosewood (Dalbergia nigra) is also known as Bahia rosewood, Rio rosewood, and pianowood and is native to the Bahia interior forests of Brazil.
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Madagascar rosewood refers to several rosewood types native to Madagascar. The most notable as guitar tonewoods are Dalbergia baronii and Dalbergia monticola.
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All three main types are severely restricted under the genus-wide restriction on all Dalbergia species. East Indian and Madagascar rosewood are listed in CITES Appendix II, while Brazilian rosewood is listed in Appendix I. All three are listed under the IUCN Red List as vulnerable species due to a population reduction of over 20% in the past three generations.
Though the trade of raw materials is heavily restricted, these tonewoods are still possible under certain guidelines.
Other true rosewoods worth mentioning are Yucatan rosewood (Dalbergia tucanensis) and Honduran rosewood (Dalbergia stevensonii), which we’ll discuss shortly. Both these woods are native to Central America.
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- East Indian rosewood:the heartwood of East Indian rosewood varies in colour from golden brown to a deep purple/brown and features dark brown streaks. Its grain is interlocked, with a medium texture and small pores.
- The dense, interlocked grain makes East Indian rosewood relatively difficult to work, though it finishes well. Care should be taken to avoid tear-out when planing and sanding. Additionally, the hardness of this rosewood is liable to blunt cutting tools.
- It is one of the most popular and traditional guitar tonewoods ever.
- East Indian rosewood offers a superb, reverberant bass response with notable warmth and sustain. Its high-end is remarkably bright as well, with beautiful articulation. The midrange frequencies are considered “scooped,” making them less apparent than other tonewoods, which contributes to the cleanliness of EIR’s low and top end.
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The tone of your guitar is undoubtedly the result of a team effort; pickup types, string gauges, scale lengths and bridge designs are just a handful of things to consider. But arguably one of the biggest contributing factors is the choice of wood for the body, neck and fretboard, not least because they make up 90% of the construction of your guitar! Different combinations can yield different results, and while pickups, hardware and other components can be changed in time, electric guitar tonewoods stay put once assembled.
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Different manufacturers tend to favour different wood choices, but in recent years the industry has seen a shift in trends. This is partially due to changes in regulation that restrict the circulation of certain rare woods, most notably affecting rosewood, granadillo and bubinga. These changes were implemented by CITES (short for the Convention on International Trade in Endangered Species of Wild Fauna and Flora) to protect species from drastic reduction in numbers, and it meant that any guitar using these woods required CITES certification to be traded across borders – naturally, building guitars became a lengthier process and increased prices. Restrictions to many of these woods. most notably rosewood , was lifted on 14/12/19.
Nowadays, instrument manufacturers use a wealth of different wood types, with exotic and alternative woods being used more commonly to avoid hefty fees and maintain consistent output; so without further ado, let’s delve deep into the world of tonewoods!
Why do tonewoods sound different from each other?
While it’s common knowledge that some woods sound brighter, darker or fuller than others, not everyone necessarily knows why!
Because wood is an organic material, it changes shape and density as it grows; with age, wood develops deeper grains that change almost immeasurably during its lifespan. Due to the unpredictable and ever-changing nature of this growth, you can almost certainly expect inconsistencies and imperfections at every level of detail, whether it’s an unmistakable fist-sized knot or a microscopic hole. Different types of wood have different types of imperfections and characteristics in their make-up, and it’s this variation that makes them sound different from each other.
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Imagine two rooms, one small and one large. If you strum a guitar in the small room, there’s less space for the sound to move around in, so the sound dies down quicker but is clear. In the large room however, you’ll notice the sound echoes around more, meaning the sound lasts longer but loses clarity. Now apply this to the gaps between the grains in different types of wood: if wood is dense, there will be less space among the grain for the sound to move around in, so you can expect quick attack and bright clarity. If the wood is less dense, the sound will have more space in the grain to move around in, so you can expect a darker resonance with increased sustain!
Tonewood, or tone wood, is simply the description of the wood species components of your guitar and the sound created while vibrating. Beating on a paint bucket versus a drum, or a countertop versus a crafted guitar surface, all have characteristic sounds. Playing guitar strings creates vibrations, which in turn vibrate the wooden body of your acoustic guitar, creating tone. Woods have different tonal qualities, and therein are many choices. Before we get too deeply ingrained, there is a longstanding argument on whether wood affects tone on electric guitars. It clearly does on acoustic guitars and can be easily heard.
On electric guitars it’s hotly debated, and there are intelligent people on both sides of the issue. Proponents say that wood makes a difference in body and neck tone and is therefore translated into the strings, pickups and then into your amp. Opponents argue that electric guitar pickups only access metallic magnetic signals, which is only the vibration of the metal string and therefore can’t collect “acoustic’ wood vibration aspects. We won’t attempt to resolve this debate today, but rather this article will focus on acoustic guitars and their tonewoods. Whatever side of the electric fence you’re on, one thing is certain: the influence of sonic tonewood is absolutely all-important on acoustic guitars and can be heard by even a complete guitar novice. When this article refers to tonewood, it’s talking about acoustic guitars unless otherwise stated.
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