As guitars pass through my studio, I am continuing to build my database of tonewood sampling--now over 35 different very fine guitars. My objective is 3-fold as follows:

1--since a guitar sounds different straight on then it does from above, I wanted to get more of a listener's perspective on a couple guitars I was auditioning awhile back.  I got carried away and added in a few more of my favorites as well...now, the process continues...!

2--knowing that some guitars record more easily then others, I wanted to see if I could glean any insight between the guitars being tested, woods used, shapes and construction, and then which I might want to use for recording certain compositions.

3--in light of many "13th Fret" List discussions on koa and rosewood back and sides, spruce and cedar tops, vintage guitars versus newer build boutique and production guitars, etc., I thought it might be beneficial for myself and others to compare using real audible samples for their own perspective.

In an attempt to add minimal color to the signal, the guitars were recorded mono with only a mic (a Neumann KLM 184), 2 - 3 inches from the 12th fret (my preferred setup for this particular mic--sorry "13th fretters"!). Everything was recorded flat (absolutely no EQ), and the input signal passed through a high end Pendulum tube mic preamp prior to being converted to 24bit "0s and 1s." All guitars were recorded in similar manner, one take each (mistakes and all), and have 2 or 3 of the same short musical samples per guitar. The first 2 samples are the same on all guitars.  During mixdown for the CD tracks just a touch of reverb was added because my studio is unrealistically dead (normally a good thing)--for this test I was shooting for more of a living room feel.

Group One samples (1a - 6b)  (answers provided)

The guitars used (not listed in order recorded), are all approximately SJ size/style except for the Baranik (obviously).  They are just a few of so many very fine, handbuilt guitars available today, the "golden age of acoustic guitars," and are listed as follows:

1. Kevin Ryan MGC Indian rosewood b&s/cedar top, Ryan light strings  Answer, Samples 4a - b...

2. Kevin Ryan MGC Indian rosewood b&s/Sitka spruce top, elixir nano lights Answer, Samples 2a - b...

3. Baranik Parlor Indian rosewood b&s/Adirondak Spruce top, NewTone Masterclass Med/Light strings (the give away track!)  Answer, Samples 6a - b...

4. James Olson SJ Koa b&s/Sitka spruce top, Elixir nano light strings Answer, Samples 5a - b...

5. Webber Roundbody Indian rosewood b&s/Sitka Spruce top, new strings--not Elixirs  Answer, Samples 3a - b...

6. David Eichelbaum Grand Concert Koa b&s/Cedar top, Elixir nano light strings Answer, Samples 1a - b...

1. Gerald Sheppard  Gerald Sheppard Auditorium size koa b&s with Englemann spruce top--coated light strings, standard scale  Answer, Samples 9a - b...

2. Martin  small bodied, laminate mahogany/spruce, uncoated light strings Answer, Samples 7a - b...

3. Santa Cruz   H (small body) koa b&s, sitka spruce top, coated light strings Answer, Samples 11a - b...

4. Dana Bourgeois   OM style Indian rosewood b&s w/ sitka spruce top, coated light strings Answer, Samples 8a - b...

5. Mitchell (not the luthier)--no website  2000 indonesian made acoustic. spruce top, laminate b&s (not sure about the wood,  Gibson jumbo shape Answer, Samples 10a - b...

Methodology modification

Forgetting that I had only used one mic in the first set of samples done several months earlier, these have the same setup but with a second mic (Neumann TLM 103) placed in front of the soundhole approximately 3 feet.  The 2 tracks are then positioned in the stereo spectrum approximately 10:00 and 2:00.  The net result is a bit fuller sound, but still accurate, probably even moreso than group samples 1 and 2.  All else is the same as mentioned above.

Here's a body Size, scale length, and rosewood challenge.  The guitars used (not listed in order recorded), are all rosewood B & S, and each a different size.  3 are of old growth Brazilian rosewood construction, and one is East Indian rosewood.   They are listed as follows:

1. Gerald Sheppard  Auditorium size old growth Brazilian rosewood b&s with bearclaw sitka spruce top--non-coated light strings, standard scale  Answer, samples 12

2. Alan Carruth 12-fret 000 style guitar with Old growth Brazilian b&s and red spruce (Appalachian/Adirondack) top--non-coated light strings  Answer, samples 14

3. Huss and Dalton smaller 12 fret 00 style and shape.  Old growth Brazilian rosewood b&s, Englemann spruce top, non-coated strings, 24.9 scale  Answer, samples 16

4. Charlie HoffmanSJ size Concert 12 fret, East Indian rosewood b&s, Englemann spruce top, non-coated, light strings  Answer, samples 13

Recording methodology is the same as "Group Three" above.

Here's a vintage prewar tone challenge.  The guitars used (not listed in order recorded), are mostly either Brazilian rosewood or mahogany B & S with red spruce tops, from Baystate Parlor size 2 to Martin size 00s.  They are listed as follows:

1. 1905 Martin 1-21  Brazilian rosewood b&s with Red (Adirondack) Spruce top--nylon strings, 24.9" scale Samples 23

2. 1991 Santa Cruz H--(For comparison!) 14-fret koa b&s, sitka spruce top--coated light steel strings  Samples 25

3. mid 1800s Martin 1-26  Brazilian rosewood b&s with Red (Adirondack) Spruce top--nylon strings, 24.9" scale  Samples 24

4. 1905 Martin 0-28  Brazilian rosewood b&s with Red (Adirondack) Spruce top,  X- Light steel strings, 24.9" scale  Samples 26

5. 1905 Martin 0-28--same as above recorded +3db higher than the rest  Brazilian rosewood b&s with Red (Adirondack) Spruce top  X-light steel strings, 24.9" scale  Samples 17

6. 1919 Martin 00-18  Mahogany b&s with Red (Adirondack) Spruce top--X-light steel strings, 24.9" scale  Samples 20

7. Late 1800s Baystate Parlor size 2  Brazilian rosewood b&s with Red (Adirondack) Spruce top, ladder braced--nylon strings  Samples 27

8. 1913 Martin 0-42  Brazilian rosewood b&s with Red (Adirondack) Spruce top--Light steel strings, 24.9" scale  Samples 18

9. 1930 Martin 00-40H converted to Spanish style  Brazilian rosewood b&s with Red (Adirondack) Spruce top--Light steel strings, 24.9" scale Samples 19

10. 1927 Martin 00-18  Mahogany b&s with Red (Adirondack) Spruce top--X-light steel strings strings, 24.9" scale  Samples 21

11. Early 1900s American Conservatory Parlor  Brazilian rosewood b&s with Spruce top--X-light steel strings, ladder braced, 24.9" scale--don't let this one fool you! Samples 22

Group Five samples--Vintage Prewar Martins vs contemporary prewar vintage Martin specs 

Methodology--same as group 1 above (single mic)

Here's a body Size--rosewood, mahogany, koa, vintages contemporary tone challenge.  The guitars used are listed as follows:

1. 2006 Osthoff 00-12C   12 fret 00 style and shape, 24.9" scale, like the old Martins. Koa b&s, Adirondack spruce top--non-coated light strings  Samples 31a - c...

2. 1931 Martin 000-18  12-fret 000 style guitar with mahogany b&s and red spruce (Appalachian/Adirondack) top--4 month old strings  Samples 32a - c...

3. 1903 Martin 00-28  12 fret 00 style and shape.  Brazilian rosewood b&s, Adirondack spruce top Samples 33a - c...

4. 1923  Martin 0-18 12-fret 0 parlor style guitar with mahogany b&s and red spruce (Appalachian/Adirondack) top  Samples 34a - c...

Thanks, and enjoy!    

 Ken