The sonic properties of wood vary dramatically between species, weight and density.

Generally speaking, heavier woods sustain well and have a bright and articulate sound,
which are all good attributes for a bass guitar. Extra light weight woods, while a great
complement for a bad back, can sound indistinct or muddy especially with humbucking
pickups. Medium weight woods fall in the middle and are the traditional preference.
Compromises may be found by chambering or hollowing the heavier woods. These
bodies remain stiff but light weight for that fat, rich tone with great sustain.

High density = fat sounding, better lows/mids

High silica content - usually helps bring out the edge of the treble, yet still adds to
density, will BLUNT THE **** out of your tools

Open pore structure : usually contributes to lower frequency, pain in the butt to spray
finish
Closed pore structure : easier to finish, usually contributes to high frequencies.

Tight growth rings - contributes to higher frequency

loose growth rings - contributes to lower frequency.

Neck to Body wood tone ratio :

It is rather obvious that tone and sustain come from sheer mass (lean your guitar up
against a large wooden cabinet, pluck a string and the sustain will last forever and the
EQ will sound different). Therefore my hypothesis would be that the neck does effect
tone, but not as much as the big hunk of body wood that you've got strapped to that
neck.

Woods not listed on the warmoth page/obscure woods :

Oak : Same as northern hard ash, difficult to work, heavy, closed grain structure and
dense.

Pine : Good tone wood, similiar to basswood and alder, not quite as hard. Requires extra
care in machining due to the soft texture. very mid-rangish tone like that of
alder/basswood.

Bloodwood (Brazillian) AKA Satine- Red in color, works easily, very dense, very
hard. Alot of movement, not good as a single piece neck. Bright tonally

Purple heart : Great wood for neck laminates, turns to a dark brown after time, hard,
difficult to work, high silica content and open grain structure. Bright tone
Greenheart/Yellowheart/Redheart : Warp easily, basically useless in the guitar world,
difficult to dry, extremely difficult to work.

Jarrah : Tight-grained, red/crimson, some silica. good for neck laminates, bodies. Grows
in Asia.

Jatoba : Virtually useless in the guitar world, warps a lot, ruins your tools, huge open
pores. Beautiful grain, makes a great laminate top. big fat dull sound.

Zebrawood : works fairly easily, very smelly, warps alot, rough texture, heavy and open
grain.

Eucalyptus (various origins) : This tree grows in many rainforests throughout the world,
however it is all considered "Eucalyptus". I have seen eucalyptus that is just like
mahogany, and I have seen some extremely soft light-weight eucalyptus. Inspect your
piece in person before buying.

WOOD TYPES

Mahogany (Khaya ivorensis):

We use African Mahogany in our body production. It is a medium to heavy weight wood
with a Strat® body averaging 5 lbs. or more. Mahogany is a fine grained wood with great
musical properties. The tone is warm and full with good sustain. The favorite tone wood
of the Gibson® brand name; associated with some of the most famous rock music of our
time. The grain is easy to fill. Looks good with clear or transparent red finish.

Makore (Tieghemella heckelii):

A tropical hardwood from the west coast of Africa with a very similar color to the
Mahogany family though with a finer, more lustrous surface finish. Given the normal
color and texture variations found in the Mahogany family most people can’t easily
distinguish one species from another. Makore can have a degree of figuring that
enhances its appearance. Weight wise this wood is pretty similar to Honduran Mahogany
and African Mahogany (Khaya) with a specific gravity of .62 and weighing about 39 lbs
per cubic foot (Honduran Mahogany is .54 - .64 specific gravity and 34 – 40 lbs per cubic
foot, African Mahogany .54 - .59 specific gravity and 34 – 36 pounds per cubic foot). For
guitars this is heavy when compared to Swamp Ash and for this reason all three of these
woods are much more popular when used as a chambered body. Tonality will be
extremely similar to Mahoganies with the primary differences coming from the varied
weights/densities within the species

Padouk, African (Pterocarpus soyauxii):

Bright vivid orange color which oxidizes to a warm brown with use. This waxy feeling
wood has an open grain texture similar to rosewood and a tone similar to maple with
great mids and attack. This is a heavy to medium weight wood that looks great with an
oil finish or clear gloss!

Indian Rosewood (Dalbergia latifolia):

A gorgeous exotic wood with rich thick grain covering a range of colors and patterns.
These bodies dominate the heavy wood category with solid Strat® bodies always
weighing in at well over 6 lbs. Specifying construction as hollow or chambered build is
always a good idea if you're weight conscious. Finishes can be a little difficult to apply
with the oily nature of the wood. You can expect big warm tones from rosewood with
smooth high end roll off. Indian Rosewood Tele® bodies were made popular in the 70s by
George Harrison of the Beatles.

Wenge (Millettia laurentii):

Wenge features black and chocolate brown stripes. It is usually quartersawn to yield
straight grain - similar to open grained Zebrawood, but black. This body is in the heavy
weight category so considering it as a hollow or chambered build is beneficial if you're
weight conscious. Its weight does offer plenty of sustain though. Oil finishes are most
popular on Wenge but you can also leave them unfinished as well. The tone is balanced
with great mid presence and attack. This is a popular wood for boutique bass builders
and its tonal reputation is impressive.
 Solid Density
(103 kg/ (lb/ft3
m3) )
Alder 0.4 – 0.7 26 –
42
Afrormosia 0.71
Agba 0.51
Apple 0.65 – 41 –
0.85 52
Ash, white 0.65 – 40 –
0.85 53
Ash, black 0.54 33
Ash, 0.71
European
Aspen 0.42 26
Balsa 0.16 7–9
Bamboo 0.3 – 0.4 19 –
25
Basswood 0.3 – 0.6 20 –
37
Beech 0.7 – 0.9 32 –
56
Birch, British 0.67 42
Birch, 0.67
European
Box 0.95 – 59 –
1.2 72
Butternut 0.38 24
Cedar of 0.58
Lebanon
Cedar, 0.38 23
western red
Cherry, 0.63 43-
European 56
Chestnut, 0.56 30
sweet
Cottonwood 0.41 25
Cypress 0.51 32
Dogwood 0.75 47
Douglas Fir 0.53 33
Ebony 1.1 – 1.3 69 –
83
Elm, 0.57 35
American
Elm, English 0.55 – 34 –
0.6 37
Elm, Dutch 0.56
Elm, Wych 0.69
Elm, Rock 0.82 50
Gaboon 0.43
Greenheart 1.04
Gum, Black 0.59 36
Gum, Blue 0.82 50
Gum, Red 0.54 35
Hackberry 0.62 38
Hemlock, 0.50
western
Hickory 0.83 37 –
58
Holly 0.75 47
Iroko 0.66
Juniper 0.55 35
Keruing 0.74
Larch 0.5 – 31 –
0.55 35
Lignum Vitae 1.17 – 73 –
1.33 83
Lime, 0.56
European
Locust 0.65 – 42 –
0.7 44
Logwood 0.9 57
Madrone 0.74 45
Magnolia 0.57 35
Mahogany, 0.5 – 31 –
African 0.85 53
Mahogany, 0.66 40
Cuban
Mahogany, 0.65 41
Honduras
Mahogany, 0.85 53
Spanish
Maple 0.6 – 39 –
0.75 47
Meranti, 0.71
dark red
Myrtle 0.66 40
Oak 0.6 – 0.9 37 –
56
Oak, 0.74 45
American
Red
Oak, 0.77 47
American
White
Oak, English 0.74 45
Brown
Obeche 0.39
Oregon Pine 0.53 33
Parana Pine 0.56 35
Pear 0.6 – 0.7 38 –
 45
Pecan 0.77 47
Persimmon 0.9 55
Philippine 0.59 36
Red Luan
Pine, pitch 0.67 52 –
53
Pine, 0.51
Corsican
Pine, radiata 0.48
Pine, Scots 0.51
Pine, white 0.35 – 22 –
0.5 31
Pine, yellow 0.42 23 –
37
Plane, 0.64
European
Plum 0.65 – 41 –
0.8 49
Poplar 0.35 – 22 –
 0.5 31
Ramin 0.67
Redwood, 0.45 28
American
Redwood, 0.51 32
European
Rosewood, 0.82 50
Bolivian
Rosewood, 0.90 55
East Indian
Sapele 0.64
Satinwood 0.95 59
Spruce 0.4 – 0.7 25 –
44
Spruce, 0.45 28
Canadian
Spruce, 0.43
Norway
Spruce, Sitka 0.45 28
Spruce, 0.45
western white
Sycamore 0.4 – 0.6 24 –
37
Tanguile 0.64 39
Teak, Indian 0.65 – 41 –
0.9 55
Teak, African 0.98 61
Teak, Burma 0.74 45
Utile 0.66
Walnut 0.65 – 40 –
0.7 43
Walnut, 0.63 38
Amer Black
Walnut, 0.49 30
Claro
Walnut, 0.57 35
European
Water gum 1 62
Whitewood, 0.47
European
Willow 0.4 – 0.6 24 –
37
Yew 0.67
Zebrawood
"Afra" Afromosia (Pericopsis elata):

The short name is Afra - About the same density of Hard Maple with
a very similar sound. Medium fine grained. Occasionally we find
some of this wood quartersawn and offer it in neck form. This is a
great way to get a darker look to your neck without a finish doing it
for you!

Tone-O-Meter™

  YES NO  
Used for neck backs X    
Unless made as a one-piece
Used for fretboards   X
neck
Finish required   X  
Used for bodies   X  
Bocote (Cordia elaeagnoiders):

Often referred to as Mexican Rosewood, striking grain patterns are

the trademark of this dense, smooth wood. The grain is very tight so
the feel is extremely fast and luxurious. Because of Bocote’s dense
nature, you can expect great sustain and nice attack. Along with the
usually wild figure of light and dark brown stripes, light yellow and
light green hues are not uncommon and add to the uniqueness of
this fine exotic. Limited availability.

Tone-O-Meter™

  YES NO  
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Used for fretboards X    
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Brazilian Ebony (Swartzia stipulifera Harms):

Also commonly known as Gombeira, Wamara, or Coracao de negro.

Although not a true Ebony, the properties of Brazilian Ebony are
similar. It is heavy, smooth, and dark, with a fast feel and great
sustain. The tone is bright. The heartwood color can range from
yellow to olive brown, to rich chocolate brown and sometimes a
purplish hue, and will usually darken to a deep brown/black color
with age and exposure to air and light. The sapwood features a
sharp demarcation, and is a creamy white/yellow color. While this is
not an endangered wood, it is not a commonly exported wood and
is seldom seen here in the northern hemisphere.

Tone-O-Meter™

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Bubinga (Guibourtia demeusei):

Fine grained and super smooth, Bubinga has long been a favorite of
the discriminating ears of the famous. Used by companies such as
Rickenbacker for fretboards and Warwick for bodies. As a bass neck,
it brings bright midrange and a thick, well defined bottom. Bubinga
is also a very stiff wood adding strength and stability to its list of
assets. This is one formidable tonewood!

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Canary (Centrolobium ochroxylon):

More properly called Arariba. What we've had of this wood is

primarily a yellow color with deep red streaking. Canary has a
density that is comparable to Maple with a tone that has a similar
brightness to Maple as well. You can apply a finish or play it raw!

Tone-O-Meter™

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Cocobolo (Dalbergia retusa):

A true Rosewood species and gorgeous to behold. Unfortunately this

extremely oily wood is difficult to glue. Worse yet, the dust is very
irritating and toxic. Limited availability.

Tone-O-Meter™
   YES NO  
Used for neck backs X    
Used for fretboards X    
Finish required   X  
Used for bodies X   Occasionally laminate tops
Ebony (Diospyros melanoxylon):

Ebony has a smooth, fast feel, a bright tone, and fantastic sustain.
Its inherent hardness has made it a preferred choice for
fingerboards for centuries. It is especially well-suited to fretless
necks. The pure black color most often associated with this species
Standard
has become exceedingly rare. Today's Ebony is usually black with
light brown or gray streaks, or dark mineral spots - beautiful in its
own right, and still highly-prized by instrument makers the world
over.

Tone-O-Meter™

Ebony (Black)   YES NO  

At additional Used for neck backs X    
cost, and Used for fretboards X    
subject to Finish required   X  
availability Used for bodies   X  
Ebony, Macassar (Diospyros macassar):

The distinctive chocolate brown stripes of Macassar Ebony are hard

to miss. A beautiful wood for those wanting the feel and tone of
ebony but a more exciting look! Lots of sustain, attack and stability
from this dense wood and the feel is very smooth to the touch.
Primarily used for fretboards but sometimes available for solid
necks too! No finish required.

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Goncalo Alves (Astronium fraxini folium):

Very dense smooth texture with a waxy, fast feel. Color is tan with
darker chocolate stripes (used by Smith & Wesson for pistol grips).
With an articulate, clean, warm tone, Goncalo gets rave reviews for
its overall well balanced tone and great looks. Primarily used as a
neck wood, it mates well with Pau Ferro or Ebony fretboards.

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Imbuia (Phoebe Porosa):

Sometimes referred to as Brazilian Walnut - similar in density and

tone to Walnut. Varies from yellow-olive to chocolate brown in color
and sometimes features interesting figuring. Has a fragrant spicy
smell when cut. Does not require a finish; feels smooth and fast to
the touch. Limited availability

Tone-O-Meter™

  YES NO Limited availability

Used for neck backs X    
Used for fretboards   X  
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Indian Rosewood (Dalbergia latifolia):

Here we have the most popular fretboard wood! Indian Rosewood

has the warm "rock-n-roll" tonality you’ve heard on many of the
most famous rock albums in history. The warm tone is also a
favorite amongst blues players. Rosewood contains natural oils so a
finish is not required. The feel is also smooth and fast. Colors range
from brown to dark purple to lighter purple with yellows and
sometimes hues of orange and green.

Tone-O-Meter™

  YES NO  
Used for neck backs X    
 Used for fretboards X    
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Used for bodies X    
Kingwood (Dalbergia cearensis):

Affectionately referred to as "the wood of kings" and for good

reason! From South America, this wood is very hard and dense with
a fine, smooth texture to it. Sonically you can expect great
articulation, fast response and ample sustain. Often the grain is
highly figured and varies in amazing ways. Truly an excellent
fretboard wood choice and a customer favorite.

Tone-O-Meter™

  YES NO  
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Koa (Acacia koa):

Koa comes from the Hawaiian Islands. Koa is similar to Mahogany in

density and strength though it can look remarkable! Stripes of tans
and brown can create interesting figure. Sometimes even flame
figuring is available that really comes alive under a clear gloss. Koa
sounds especially good when combined with a Pau Ferro or Ebony
fretboard. Koa is highly prized in the wood market because of its
limited availability, so it is expensive. Koa must be hard finished.

Tone-O-Meter™

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Used for fretboards   X  
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Korina, Black and White, or Limba (Terminalia superba):

Black and White Korina both come from the same tree. Black is the
heart or bottom of the tree; white is from the outer and upper part
of the tree. In body woods, it is not uncommon to see both white
and black in the same board. Though Limba is its true name, Korina
White Korina
is the name most guitarists recognize for this wood. Its light yellow-
green color is unique and looks aged even though new. In both tone
and texture Korina is very similar to Mahogany with just a touch
more highs. Korina is only suitable for neck stock, not fretboards.
 Availability is limited or sporadic.

Tone-O-Meter™

  YES NO  
Used for neck backs X   Limited availability
Black Korina
Used for fretboards   X  
Finish required X    
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Mahogany (Khaya ivorensis):

Commonly called African Mahogany. This is the wood most

associated with Gibson guitars. Mahogany is known to provide the
warmest, fattest guitar tones. An open grain wood requiring more
work in finishing to fill the open pores. Usually a dark to medium
brown with only subtle grain patterns.

Tone-O-Meter™

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Maple, Birdseye (Acer saccharum):

Birdseye is a type of figure found in Hard Maple. It shows best in flat

sawn wood. There is a wide variety of sizes and shapes in the
"eyes." Under a gloss finish, the Birdseye takes on a 3D look for a
beautiful visual appeal. There seems to be a recurring rumor that
Standard
Birdseye Maple is unstable and not suited to guitar necks. Having
made tens of thousands of Birdseye necks, we can assure you that
it is no different in stability than plain maple. AAA grade means the
wood will be a bit more figured than our standard.

Tone-O-Meter™

High Grade   YES NO  

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Maple, Flame (Acer saccharum):

While there are several maple species that show the flame figure,
the only one hard enough for making necks is Acer saccharum.
Identical to plain Hard Maple, except for the highly prized flame
figuring. For even more flame figure, AAA grade can be requested.
A different species of Flame Maple is used for body laminate tops.

Tone-O-Meter™

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Maple, Hard (Acer saccharum):

This is the most traditional Fender neck wood. Dense, hard and
strong, offering great sustain and stability. The tone is bright. Maple
must be finished to protect from warping. The figure varies greatly
and does at times contain some birdseye. Most often flatsawn with
quartersawn available as an option.

Tone-O-Meter™

  YES NO  
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Used for fretboards X    
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Maple, Quartersawn (Acer saccharum):

Quartersawn Maple is easily differentiated from Flat Sawn by its

straight, parallel grain pattern. A board cut from the exact center of
a quartersawn section of lumber will exhibit grain that intersects its
face at a perfect 90 degree angle. This angle in subsequent boards
will decrease gradually, as they are cut progessively outward
towards the edge of the section. The angle on the outermost boards
is about 60 degrees. Though all are considered quartersawn,
Warmoth uses only the best boards - those with an angle between
75 and 90 degrees - for our quartersawn necks. Quartersawn necks
are prized by builders and players for their renowned stability. They
have the same bright tone and quick feel as normal Maple. A finish
is required.

Tone-O-Meter™

  YES NO  
Used for neck backs X    
Used for fretboards X    
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Maple, Roasted (Acer saccharum):

Roasted Maple is maple that has been heat treated to remove

sugars, moisture, and other impurities that can affect its stability.
The result is a neck that is slightly lighter than normal and
extremely stable. Because of its enhanced stability a finish is not
required, making it the maple of choice for those who prefer the
smooth, quick feel of natural wood. The roasting process also brings
out a beautiful caramel color in the wood.

Tone-O-Meter™

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Padouk, African (Pterocarpus soyauxii):

Bright vivid red color which oxidizes to a warm brown with use. With
an open grain texture like Rosewood, the sound is very similar to
Maple; well balanced and tight. It is very stable in use and requires
no finish. Feels very natural to play on.

Tone-O-Meter™

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Palisander Rosewood (Dalbergia baroni):

The color varies from light violet to darker purples, sometimes with
darker stripes. The best smelling wood around. Very hard with a
somewhat open cell structure. As with most Rosewood, the tone is
warm and the natural feel is fast. Limited availability.

Tone-O-Meter™

  YES NO  
Used for neck backs X    
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Pau Ferro (Machaerium villosum):

An excellent dense, hard wood with a very tight pore structure. This
means it’s fast, smooth and extremely durable. An excellent choice
for fretless fretboards. Not only is it resistant to wear, but often the
wood figuring is striking with variations in color from light tan to a
dark coffee. The tone is brighter than Rosewood yet warmer than
Ebony with plenty of articulation and attack. One of our favorite
woods for fretboards! No finish required!

Tone-O-Meter™

  YES NO  
Used for neck backs X   Limited availability
Used for fretboards X    
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Purpleheart (Peltogyne pubesens):

The trademark purple-like color is striking and it is gaining in

popularity. A very hard, dense wood for excellent sustain and
similar to Bubinga in its thick, well defined bottom. Looks great
combined with bodies sporting purple finishes!

Tone-O-Meter™

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Used for bodies X    
Satine or Bloodwood (Brosimum paraense):

We also know this as Bloodwood because of its dark red color. A

very dense, hard, tropical wood with a waxy, smooth feel. Super
tight grain pattern almost like Ebony, this wood is super fast to play
on. Extended sustain and brilliant highs. Truly an incredible clean
looking exotic.

Tone-O-Meter™

  YES NO  
Used for neck backs X    
Used for fretboards X    
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Walnut (Juglans nigra):

Walnut is the only North American dark wood. It is somewhat softer

than Maple though stiffer than Mahogany. The sonic properties
combine especially well with Ebony fretboards. Under a gloss, the
grain is very deep, thick and rich looking.

Tone-O-Meter™

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Used for fretboards   X  
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Wenge (Millettia laurentii):

A black hard wood with chocolate brown stripes. Very hard, coarser
textured wood with open grain and very stiff. This wood makes
awesome necks with strong midrange tones and warm lows.
Combine it with an ebony fretboard for added highs. Bass players
will be wowed by the punchy-ness, and guitar players will be awe
struck at the howling mid-tones of their solos. Playing-wise, the
coarse grain translates to less surface drag for your thumb while
sliding. So though it's coarse, it's actually very fast while playing on
it.

Tone-O-Meter™
  YES NO  
Used for neck backs X    
Used for fretboards X    
Finish required   X  
Used for bodies X    
Ziricote (Cordia dodecandra):

This dark gray to brown to black wood is similar to Ebony in weight

and density. Some pieces have gorgeous striping and spider web
grain patterns. The feel is buttery smooth and slick. The density
translates to great sustain with a nice, medium tone. Limited
availability and a bit expensive.

Tone-O-Meter™

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Used for fretboards X    
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