When specifying custom guitars, the choice of tonewood is paramount, influencing both aesthetics and sonic character. Among the various mahogany options, quilted mahogany stands out, prized for its visual allure and unique tonal properties. Initially, when considering mahogany for a bespoke instrument, options like Honduran, figured, and quilted were on the table. The quilted variety, chosen for its striking appearance and a slight price premium over figured mahogany, presented an intriguing path into uncharted sonic territory.
The quest for the ideal guitar tone is a journey filled with both objective analysis and subjective preference. A notable anecdote from Frank Martin, documented in an old Martin Catalog around 1974, posited that there was no discernible tonal difference between Brazilian and Indian rosewood. While this viewpoint might spark debate among luthiers and players, personal experiences often reveal more nuanced perspectives on tonewood characteristics.
This brings to mind a story from Fred and Alice’s mom and pop music store in Toledo, Ohio, a haven for guitar enthusiasts. Regular visits to their store led to the inception of a “Hot Rod D-18” custom order. At the time, a D-18 Golden Era served as a reliable benchmark. Conversations with Fred, however, frequently revolved around the then-new Martin D-18 Authentics. Somewhere in the communication, a misstep occurred, and Fred mistakenly ordered a D-18 Authentic in addition to the custom order.
Months later, the arrival of the Authentic guitar created a moment of decision. Faced with two exceptional instruments, the choice was given to select the preferred one. When the custom-ordered guitar arrived the following week, a blind sound test was conducted, enlisting the ears of a son and a close friend. Echoing Frank Martin’s sentiment, they found it challenging to discern a significant difference between the two. However, personal evaluation revealed a subtle yet compelling distinction. The custom instrument, crafted with quilted mahogany, exhibited a more complex midrange right from the start. The Authentic, while possessing a robust bass response and a slightly lower price point, didn’t quite capture the same nuanced midrange character.
This experience underscores a crucial lesson: specifications on paper don’t always translate directly to sonic reality. The quilted mahogany guitar, despite any preconceived notions, possessed a voice that resonated deeply. While it might not definitively surpass the legendary tone of Brazilian rosewood, it offered a distinct and captivating sonic palette – different, yet equally compelling in its own right. It’s a reminder that the beauty of tonewood lies not just in its visual appeal, but in the unique sonic fingerprint it imparts to an instrument. This particular quilted mahogany guitar, now deserving of a refret and PLEK setup, is poised to deliver another two decades of rich, resonant cowboy chords, proving its enduring value and unique sonic charm.
