Thanks to its abundant use, it’s easy to forget what luthiers have known since the early days of modern guitar building: maple is a top-notch tonewood.
There have been many celebrated tonewoods throughout the history of lutherie. In the electric-guitar domain, ash, alder, and mahogany have been traditional choices. For acoustics, the famed Brazilian rosewood and Adirondack spruce have prevailed.
However, as regulations tightened and supplies dwindled, many legacy acoustic builders, such as Martin and Gibson, moved onto Indian rosewood and Sitka spruce. Because of this, from the late ’60s on, these woods continued to transform the industry standard. But our community has seemingly lost sight of a highly viable wood—the same wood that Stradivarius used to make some of the finest bowed instruments, and the same wood that has produced among the world’s most articulate Spanish-style guitars: maple.
“Builders such as John D’Angelico and Jimmy D’Aquisto followed in that tradition, inspiring makers such as Bob Benedetto and John Monteleone who continued using maple as a primary tonewood.”
At the birth of what would become the modern flattop guitar, classical builders routinely used maple to produce concert-level musical instruments. But as time has passed, maple has fallen to the “B-list” of tonewoods, where it doesn’t belong. Maple is an excellent tonewood that even has many advantages over other wood options.
Maple is readily available, especially when compared to its tonewood counterparts. Unfortunately, this domestic availability made it a go-to wood for many builders, including those who’ve misused it in lower quality instruments. Although this may have negatively impacted maple’s reputation, its accessibility is still advantageous, and maple still stands as an effective tonewood for builders with high musical standards. Unlike the exclusivity associated with some tonewoods, any luthier could have the luxury of building with mapleA testament to its quality, maple still remains a standard choice for archtop guitar makers. In the past, this included makers such as Gibson, who introduced the Lloyd Loar Master Series instruments that included the F-5 mandolin and the L-5 guitar which set the pace for the entire archtop world. Soon after, builders such as John D’Angelico and Jimmy D’Aquisto followed in that tradition, inspiring makers such as Bob Benedetto and John Monteleone who continued using maple as a primary tonewood.Recently, maple is seeing a resurgence in its use for quality guitar making and is becoming more accepted by consumers. This is mainly due to the high prices associated with typical tonewoods, like Brazilian rosewood, and the difficulty associated with transporting such exotic woods overseas. I’m a builder who loves to use woods like Brazilian, but some of the best instruments I have ever played were constructed from maple.
Maple is among the most beautiful-looking tonewoods, with some absolutely stunning variations, such as flame, bird’s eye, blister and quilted figures. Even though I am not a fan of quilted maple—due to its lower strength-to-weight ratio—I find most other options to be suitable for guitar making that I would play any day.
Galloup G-9CE, made with Michigan hard maple, finished in a hand-rubbed sunburst with nitrocellulose finish.
Maple also comes in many different densities and stiffnesses. Softer maples can range from wood so soft you can cut with your fingernail to varieties that can surpass in hardness some Indian rosewood, and hard maple can routinely surpass the strength-to-weight of other hardwoods. Remember, though, that regardless of whether it’s hard or soft, the species does not always dictate its sufficiency due to orthotropic characteristics. Boutique builders such as myself understand this principle, and we will carefully peruse woods that meet our criteria. I have had many sets of Brazilian rosewood pass through my hands that I would not deem musically acceptable, and I have also seen maple (generally hard maple) exceed the performance of such Brazilian rosewood sets. In fact, the next guitar I build for myself will be constructed out of figured hard maple I’ve had for twenty-some years that has proven to not only be musically competitive, but sonically outperform other options at many levels.
Another premier fact about maple is its sustainability. While it has to be managed like any other tonewood, there is an abundant supply of respectable, domestically harvested maple available.
Abundant availability coupled with new sonic rating systems will certainly contribute to a resurgence in maple. However, customer acceptability is a concern, and many guitar buyers are drawn to darker tone woods for back and sides. I have made many natural-finish, or “blonde,” guitars that did not sell well in the market. But when I made the same guitar and tinted the maple back and sides with a dark stain, they performed 60 percent better in sales. This is clear proof that the guitar-buying public buys with their eyes. (Maybe next time, give that maple guitar a little extra play time before discarding it as your final option.)
The bottom line is this: maple is a completely viable tonewood, and I am eager to see it employed to construct quality-level instruments and once again become a premier option. Additionally, I am hopeful that the market is uncovering what us wood junkies have known for decades—maple is just a great option, and a prime candidate for making great sounding, concert-level guitars.
- Acoustic Soundboard: Impactful New Regulations for Tonewoods ›
- Hot Take: Tonewoods Are Just for Style ›
- Paul Reed Smith Ends the Tonewood Debate ›
- Acoustic Guitar Tonewoods — Do They Matter? ›
- Acoustic Guitar Tonewoods — Do They Matter? - Premier Guitar ›
- Paul Reed Smith: The Truth and Myths About “Tonewoods” - Premier Guitar ›
We’re giving away pedals all month long! Enter Stompboxtober Day 11 for your chance to win today’s pedal from Hotone Audio!
Hotone Wong Press
Cory Wong Signature Volume/Wah/Expression Pedal
Renowned international funk guitar maestro and 63rd Grammy nominee Cory Wong is celebrated for his unique playing style and unmistakable crisp tone. Known for his expressive technique, he’s been acclaimed across the globe by all audiences for his unique blend of energy and soul. In 2022, Cory discovered the multi-functional Soul Press II pedal from Hotone and instantly fell in love. Since then, it has become his go-to pedal for live performances.
Now, two years later, the Hotone team has meticulously crafted the Wong Press, a pedal tailored specifically for Cory Wong. Building on the multi-functional design philosophy of the Soul Press series, this new pedal includes Cory’s custom requests: a signature blue and white color scheme, a customized volume pedal curve, an adjustable wah Q value range, and travel lights that indicate both pedal position and working mode.
Cory’s near-perfect pursuit of tone and pedal feel presented a significant challenge for our development team. After countless adjustments to the Q value range, Hotone engineers achieved the precise WAH tone Cory desired while minimizing the risk of accidental Q value changes affecting the sound. Additionally, based on Cory’s feedback, the volume control was fine-tuned for a smoother, more musical transition, enhancing the overall feel of volume swells. The team also upgraded the iconic travel lights of the Soul Press II to dual-color travel lights—blue for Wah mode and green for Volume mode—making live performances more intuitive and visually striking!
In line with the Hotone Design Inspiration philosophy, the Wong Press represents the perfect blend of design and inspiration. Now, musicians can channel their inner Cory Wong and enjoy the freedom and joy of playing with the Wong Press!
A more affordable path to satisfying your 1176 lust.
An affordable alternative to Cali76 and 1176 comps that sounds brilliant. Effective, satisfying controls.
Big!
$269
Warm Audio Pedal76
warmaudio.com
Though compressors are often used to add excitement to flat tones, pedal compressors for guitar are often … boring. Not so theWarm Audio Pedal76. The FET-driven, CineMag transformer-equipped Pedal76 is fun to look at, fun to operate, and fun to experiment with. Well, maybe it’s not fun fitting it on a pedalboard—at a little less than 6.5” wide and about 3.25” tall, it’s big. But its potential to enliven your guitar sounds is also pretty huge.
Warm Audio already builds a very authentic and inexpensive clone of the Urei 1176, theWA76. But the font used for the model’s name, its control layout, and its dimensions all suggest a clone of Origin Effects’ much-admired first-generation Cali76, which makes this a sort of clone of an homage. Much of the 1176’s essence is retained in that evolution, however. The Pedal76 also approximates the 1176’s operational feel. The generous control spacing and the satisfying resistance in the knobs means fast, precise adjustments, which, in turn, invite fine-tuning and experimentation.
Well-worn 1176 formulas deliver very satisfying results from the Pedal76. The 10–2–4 recipe (the numbers correspond to compression ratio and “clock” positions on the ratio, attack, and release controls, respectively) illuminates lifeless tones—adding body without flab, and an effervescent, sparkly color that preserves dynamics and overtones. Less subtle compression tricks sound fantastic, too. Drive from aggressive input levels is growling and thick but retains brightness and nuance. Heavy-duty compression ratios combined with fast attack and slow release times lend otherworldly sustain to jangly parts. Impractically large? Maybe. But I’d happily consider bumping the rest of my gain devices for the Pedal76.
Check out our demo of the Reverend Vernon Reid Totem Series Shaman Model! John Bohlinger walks you through the guitar's standout features, tones, and signature style.
Reverend Vernon Reid Totem Series Electric Guitar - Shaman
Vernon Reid Totem Series, ShamanWith three voices, tap tempo, and six presets, EQD’s newest echo is an affordable, approachable master of utility.
A highly desirable combination of features and quality at a very fair price. Nice distinctions among delay voices. Controls are clear, easy to use, and can be effectively manipulated on the fly.
Analog voices may lack complexity to some ears.
$149
EarthQuaker Silos
earthquakerdevices.com
There is something satisfying, even comforting, about encountering a product of any kind that is greater than the sum of its parts—things that embody a convergence of good design decisions, solid engineering, and empathy for users that considers their budgets and real-world needs. You feel some of that spirit inEarthQuaker’s new Silos digital delay. It’s easy to use, its tone variations are practical and can provoke very different creative reactions, and at $149 it’s very inexpensive, particularly when you consider its utility.
Silos features six presets, tap tempo, one full second of delay time, and three voices—two of which are styled after bucket-brigade and tape-delay sounds. In the $150 price category, it’s not unusual for a digital delay to leave some number of those functions out. And spending the same money on a true-analog alternative usually means warm, enveloping sounds but limited functionality and delay time. Silos, improbably perhaps, offers a very elegant solution to this can’t-have-it-all dilemma in a U.S.-made effect.
A More Complete Cobbling Together
Silos’ utility is bolstered by a very unintimidating control set, which is streamlined and approachable. Three of those controls are dedicated to the same mix, time, and repeats controls you see on any delay. But saving a preset to one of the six spots on the rotary preset dial is as easy as holding the green/red illuminated button just below the mix and preset knobs. And you certainly won’t get lost in the weeds if you move to the 3-position toggle, which switches between a clear “digital” voice, darker “analog” voice, and a “tape” voice which is darker still.
“The three voices offer discernibly different response to gain devices.”
One might suspect that a tone control for the repeats offers similar functionality as the voice toggle switch. But while it’s true that the most obvious audible differences between digital, BBD, and tape delays are apparent in the relative fidelity and darkness of their echoes, the Silos’ three voices behave differently in ways that are more complex than lighter or duskier tonality. For instance, the digital voice will never exhibit runaway oscillation, even at maximum mix and repeat settings. Instead, repeats fade out after about six seconds (at the fastest time settings) or create sleepy layers of slow-decaying repeats that enhance detail in complex, sprawling, loop-like melodic phrases. The analog voice and tape voice, on the other hand, will happily feed back to psychotic extremes. Both also offer satisfying sensitivity to real-time, on-the-fly adjustments. For example, I was tickled with how I could generate Apocalypse Now helicopter-chop effects and fade them in and out of prominence as if they were approaching or receding in proximity—an effect made easier still if you assign an expression pedal to the mix control. This kind of interactivity is what makes analog machines like the Echoplex, Space Echo, and Memory Man transcend mere delay status, and the sensitivity and just-right resistance make the process of manipulating repeats endlessly engaging.
Doesn't Flinch at Filth
EarthQuaker makes a point of highlighting the Silos’ affinity for dirty and distorted sounds. I did not notice that it behaved light-years better than other delays in this regard. But the three voices most definitely offer discernibly different responses to gain devices. The super-clear first repeat in the digital mode lends clarity and melodic focus, even to hectic, unpredictable, fractured fuzzes. The analog voice, which EQD says is inspired by the tone makeup of a 1980s-vintage, Japan-made KMD bucket brigade echo, handles fuzz forgivingly inasmuch as its repeats fade warmly and evenly, but the strong midrange also keeps many overtones present as the echoes fade. The tape voice, which uses aMaestro Echoplex as its sonic inspiration, is distinctly dirtier and creates more nebulous undercurrents in the repeats. If you want to retain clarity in more melodic settings, it will create a warm glow around repeats at conservative levels. Push it, and it will summon thick, sometimes droning haze that makes a great backdrop for slower, simpler, and hooky psychedelic riffs.
In clean applications, this decay and tone profile lend the tape setting a spooky, foggy aura that suggests the cold vastness of outer space. The analog voice often displays an authentic BBD clickiness in clean repeats that’s sweet for underscoring rhythmic patterns, while the digital voice’s pronounced regularity adds a clockwork quality that supports more up-tempo, driving, electronic rhythms.
The Verdict
Silos’ combination of features seems like a very obvious and appealing one. But bringing it all together at just less than 150 bucks represents a smart, adept threading of the cost/feature needle.