Thermally modified tonewood goes by many marketing nicknames, but its effect on tone is still up for debate.
“Torrefied” or “torrefaction” are words you’ve likely heard pretty often in the past few years in the context of musical-grade tonewoods. They refer to a heating process that changes the material properties of wood. The process was first developed to produce biofuel, and later to make construction lumber weather resistant. Because this process made wood lighter and more resistant to moisture, instrument makers took notice and began to explore the possibilities of applying the process to tonewoods.
When I first heard the term torrefaction applied to tonewood, I had a “hold-on-a-minute” thought: If it’s torrefied (which makes it water resistant), then how are you going to glue it together with standard water-based, guitar-making glues like hide glue or aliphatic resin? The answer is you can’t. So, what we’re most likely dealing with in treated musical-grade lumber is a unique process that would use cook times and temperatures different from those used for construction-grade lumber. This means that tonewoods are not truly torrefied, but rather thermally modified.
To make matters more confusing, each manufacturer uses its own trade name for thermally modified tonewoods in an attempt to carve out a unique slice of its marketing value. I’ve seen heat-treated tonewoods referred to as aged tone, specially aged, VTS roasted, toasted, baked, etc. I hope one day someone will discover how to cut the processing time and temperatures by 50 percent, so we could call it “half-baked” tonewood. Now that would be cool.
To grasp the basic process of thermally treating wood, we need to understand that wood is essentially a composite material made up of three main organic polymers: cellulose, lignin, and hemicellulose. When heated, these polymer chains begin to break down and the wood off-gasses some of these molecules. This makes the wood slightly weaker and less dense. Depending on the time and temperature, this process can improve the stiffness-to-weight ratio of the wood. But if wood is heated too long or too high, its stiffness-to-weight ratio can actually degrade. If done correctly, however, this process can imitate the effect of naturally aging wood.
There are methods for altering tonewoods through thermal modification that have been patented by Yamaha and perfected by smaller boutique makers around the country, but again, these are not the same as the processes that are being widely described as torrefaction in today’s guitar market.
Another factor to ponder: The net gain from thermal modification is very small, generally in the range of about 10 percent. This means that through this process, the wood is either getting lighter or stiffer, but either way, we’re talking about very small amounts of positive gain. This also includes any changes in the damping factor within tonewoods, so to say that applying these techniques to tonewoods is going to make a massive difference in the overall sound or volume of the finished instrument is, well, highly questionable.
That’s not to say that thermally modifying instruments doesn’t have its place in our industry. The first time I saw a piece of what was referred to as “roasted maple,” I thought it was beautiful. Since then, I’ve seen instruments with thermally modified backs and sides made by Dana Bourgeois and bass necks by Roger Sadowsky, all of which were stunning.
So, why would you want to thermally modify a piece of wood? The goal would be to make a substandard piece of wood better, or to make a good piece of wood great, right? But as of yet, there’s no substantial data available to back the statement that just because a piece of wood has been heat treated, it’s going to make a great guitar.
In the end, even though we have a handful of pioneers like Bourgeois spearheading our understanding of this science, the jury is still out concerning the pros and cons of thermal modification. One thing for certain is that nothing will ever beat an already great piece of tonewood supplied to us by Mother Nature. It’s been proven through centuries of application that good ol’ high-grade tonewoods are the way to go for longevity and great sound for your guitar.
A budget-conscious solid-wood dreadnought seasoned to sound older and experienced.
Certain guitarists speak in reverent tones about “old wood”—tonewoods aged to perfection after decades of drying and vibrating. Until recently, the only way to get that old wood was to shell out for a vintage instrument. But recently guitar makers have been using temperature and humidity treatments to fast-track instruments to optimal performance.
Processes like these (torrefaction is one such process) were used by the Vikings as early as the 8th century in boatbuilding. In guitar building, crafty use of temperature and humidity can improve the stability and sound transmission of tops to help them take on the darkened hues typical of old guitars—no small consideration to the aesthetically fixated.
High-end guitars are the most frequent beneficiaries of processes like torrefaction, but Yamaha now uses temperature and humidity treatments on some mid-priced guitars. They’ve administered this process, which they call A.R.E. (Acoustic Resonance Enhancement), to violin-family instruments since the late 1990s, and now offer it on Chinese-built guitars like the new LL16D ARE.
Solid Build and Handsome Looks
The solid-wood LL16D ARE is built on Yamaha’s LL platform, a variation on the classic dreadnought body that’s designed to be less boomy. Its A.R.E.-treated Engelmann spruce top is finely and evenly grained, with the warm amber glow of a vintage guitar. The beautiful coloring of the rosewood back and sides ranges from deep purple to warm brown. The top sports abalone on the tasteful purfling and rosette. Plain maple appears on the body binding, heel cap, back strip, and end strip, lending a refined, boutique-like appearance. Gold-plated tuners complete the package. The guitar looks equally sharp in natural finish, as reviewed, or in the optional black.
The LL16D ARE is very well built. The fretwork is impeccable. The nut and saddle are cleanly cut. The body’s high-luster gloss finish is flawless, and the neck’s satin finish is smooth and inviting. Inside, all bracing and kerfing is smoothly sanded.
Ratings
Pros:
A well-built solid-wood dreadnought with a torrefied soundboard. Excellent, balanced tones. Good-sounding electronics.
Cons:
Not as much bottom end as some dreadnoughts.
Tones:
Playability:
Build:
Value:
Street:
$999
Yamaha Guitars
yamaha.com
Lightweight and Loud
The light, evenly balanced LL16D ARE is comfortable to play. While a traditional bluegrass player might find the factory-set action a bit low, players who double on the electric will appreciate this setup. Despite the low action, notes ring true and clear at every fret.
The guitar boasts Yamaha’s newest neck profile design. The nut is 1 3/4, a selling point for fingerstyle players. The neck feels both hefty and sleek. It’s easy to play for long periods without fret-hand fatigue, even when using many barre chords. And the neck’s stiff, five-ply design means it will be more stable over time than a one-piece, at least theoretically.
Subjected to open cowboy chords, the LL16D ARE reveals itself as fairly loud, bright, and responsive. While it may lack the powerful bottom end of the best dreadnoughts, it has good tonal balance and strong projection and sustain. It feels alive and responsive. There’s plenty of clarity, too—it’s easy to hear the individual notes of each chord, even on tightly voiced harmonies high on the neck.
Fingerpicked, the LL16D ARE may not sound quite as sweet as the finest OM or parlor guitars. But it’s touch-sensitive, and it requires little effort to extract beautifully ringing arpeggios. The guitar sounds equally robust in standard, open-G, and DADGAD tunings. It also responds well to flatpicked single-note lines. Whether I played bluegrass licks, Django runs, or straightforward blues lines, the instrument displayed strong presence and definition, even on the top two strings, where many guitars sound anemic.
Unobtrusive Electronics
The LL16D ARE includes Yamaha’s SRT Zero Impact pickup, a passive under-saddle system with separate piezo elements for each string. I’m glad Yamaha omitted the unattractive plastic preamp that compromises the design integrity of so many acoustic-electric guitars.
Plugged into a Fender Acoustasonic amp, the pickup sounds excellent, capturing the guitar’s natural acoustic sound in faithful detail without tubbiness or feedback. (Some players may miss having onboard preamp controls, but there are many good, inexpensive external alternatives, such as LR Baggs’s Gigpro.)
The Verdict
The LL16D ARE is an excellent update to Yamaha’s 40-year-old L line. The guitar’s solid woods and top-notch construction definitely inspire confidence. While it’s difficult to test the manufacturer’s claims that A.R.E.-treated wood behaves as if it’s been on an instrument for generations, the torrefied Engelmann spruce soundboard has a resonant tap tone and a rich voice when strummed or fingerpicked—a voice that amplifies well, thanks to the proprietary under-saddle pickup. At about a grand street, the LL16D isn’t cheap for a Chinese-made guitar, but sonically, it stacks up favorably against its more expensive counterparts.
Is thermo-cured wood a lutherie fad or here to stay?
Some of you may have already had a precursory introduction to the process and perceived benefits of wood torrefaction (also sometimes called “thermo-curing”) in relation to guitar building. Over the past couple of years, our suppliers first offered us top woods treated with the process, but we’re now seeing a limited selection of back and side woods as well.
I consider the process to be one of the only real breakthroughs in guitar-building materials in my 20-year (and counting) career.
The Process
I’ll attempt an explanation of the torrefaction process, but my knowledge of the finer details of how it’s done is somewhat limited. And since the really interesting part for us is how it affects guitar tone, I will keep this part very brief.
First, the wood is kiln-dried conventionally to a moisture level of 6 to 10 percent. The wood is then “cooked” in a torrefaction kiln at a high temperature while controlling atmospheric moisture and oxygen levels. After the moisture level is taken to zero percent, the wood is placed in a conditioning chamber where the level of moisture is raised to 3 to 6 percent.
The resulting wood boasts greater stability—especially beneficial as it’s exposed to atmospheric moisture during the life of an instrument—due to the closure of the cells when the water and sap is released from the wood. Another benefit is the beautiful golden-caramel color that results from the process. This is really nice as it relates to guitar tops, since the color comes out looking like older guitars with perfectly time-aged spruce.
Improved Tone: Myth or Legend?
I’m about as cynical as it gets when it comes to the latest fads in guitar building, but I am pretty much sold on this. Most of the time, the way I feel about things like hide glue, ivory saddles and nuts, bridge-pin changes, etc. is that, yes, if you change several different materials, you might be able to hear a difference, but you can’t hear the result of any one of these small “improvements” on their own.
Not the case with thermo-cured tops. We have built a lot of guitars with these tops in the last two years, and the evidence is overwhelming that it makes a difference. To me, these guitars are consistently among the top 10 percent of all of the guitars we’ve ever made in terms of tone and volume in a brand-new guitar. It’s hard to deny that the reason for this is that the thermo-curing simply speeds up the natural process of aging the top wood, just as the great 70-year-old guitars have undergone.
Any Downside?
The jury is still out on this. While we haven’t had any warranty issues with torrefied tops, others have. And I’m not sure that torrefied wood is as compatible with hide glue as it is with plain-old Titebond since the moisture has been almost completely removed. We’re also finding during the building process that the wood is a touch more brittle than non-thermo-cured wood.
These details have necessitated that we and our fellow builders adjust some procedures, yet we haven’t seen any reason why the guitars won’t hold up just as well over time. After all, the torrefaction process is supposed to add stability, not take it away. The only other downside I can think of is that some players might not favor the golden color and instead prefer to see the wood age naturally over time.
We’re currently building a guitar for the upcoming NAMM 2015 show that represents our first with thermo-cured maple for the back and sides. It will be interesting to see if the torrefaction process to back and side wood makes a significant difference in tone and volume.
Once we get the few bugs worked out of the process and the idea catches on, I think we’ll be seeing a lot more guitar-wood choices (and almost all tops) treated with this exciting new process. If you haven’t heard or played a guitar with a torrefied top yet, get down to your local guitar store ASAP. You may find yourself as enthused as I am.