Solid back, solid side and solid top usually provides the best quality of sound - as well as the highest prices. However, affordable alternatives utilize non-solid sides or backs, or even tops - reducing the cost, but it does impact the tone. Laminates (fake wood) are the cheapest, but they generally have poor tonal qualities. While fine for a beginner who is just starting to learn to play - professional musicians or even those who have start to play well just will not be able use a laminate body/top guitar (normally having six strings) .

There are a number of factors that determine the tonal properties of wood. In addition, tonewoods respond differently in the hands of different makers. They can also take on different characteristics when used in different models of guitars - even those built by the same maker. Whether a particular wood sounds good or bad ultimately depends on who is doing the listening, so any attempt to sort out distinctions can only be subjective.

Perhaps the most important factor a luthier must take into account is velocity of sound, which refers to the speed at which a material transmits received energy. A luthier must design with materials that facilitate the transmission of vibrational energy. Lively materials, those with a high velocity of sound, or low internal damping make the best facilitators.

Most luthiers (though not all) believe that the wood chosen for the top is the single most important factor in determining the quality of tone of the instrument. It is also interesting to note that the wood itself takes on different characteristics depending on which part of the guitar it's used for. Makers of electric guitars with bolt-on necks have long been aware of the fact that neck and fretboard materials can have a significant bearing on tone. Bridge materials, like fretboards, cannot make or break an instrument, but they serve to enhance or edit the tonal effects of other woods in the guitar's construction.

In conclusion, it is important to remember that wood species can be responsible only for certain aspects of the tone of any guitar. Equally important are design, skill of the maker, and the quality of each individual piece of wood used. Tonewood selection however, can be a determining factor in the creation of a very special guitar or a guitar designed for a specific purpose.

When used as a top, Mahogany has a relatively low velocity of sound, (compared to other topwoods) considerable density and a low overtone content producing a solid tone and respond best at the upper end of the dynamic range. Mahogany topped guitars have a strong "punchy" tone that is well suited to country blues playing.

When considered as back and sides, Mahogany has relatively high velocity of sound, which contributes much overtone coloration. While rosewood guitars may be thought of has having a metallic sound, mahogany guitars sound more wood-like. The harder, denser examples of these woods can take also on the characteristics of the rosewoods. Mahogany back and sides tends to emphasize the bass and the treble.

Mahogany necks help to create a warmer, more 'woody' tonal range. As bridge material, mahogany imparts the same tonal characteristic as it does when used as neck material, only less so.

Koa

Koa has been used for soundboards since the 20's. This hardwood has a relatively low velocity of sound, considerable density and a low overtone content. Therefore, it tends to produce a solid tone and respond best at the upper end of the dynamic range. Koa has a somewhat more 'midrangey' tone that works well for playing rhythm and truly shines in guitars made for Hawaiian-style slide playing.

For back and sides, Koa tends to behave much like mahogany in terms of adding tonal coloration, but it's emphasis is again more in the midrange.

Brazilian Rosewood

The rosewoods contribute to tone coloration. Brazilian rosewood is known for its high sound velocity and broad range of overtones, also characterized by strength and complexity in the bottom end and an overall darkness of tone in the rest of the range. Strong mids and highs also contribute a richness of tone to the upper registers. Rosewood guitars also have a pronounced reverberant-like tone quality, caused by audible delays in the onset of certain harmonics. While both species exhibit complexity, darkness and a reverberant tone, Brazilian rosewood has tremendous clarity in the bottom end and sparkle in the top.

Indian rosewood is also known for high sound velocity and broad range of overtones, strength and complexity in the bottom end and an overall darkness of tone in the rest of the range. Strong mids and highs also contribute a richness of tone to the upper registers. Rosewood guitars also have a pronounced reverberant-like tone quality, caused by audible delays in the onset of certain harmonics. Indian rosewood has a thicker, more midrange overall coloration.

When used for necks, Indian rosewood can help fatten up the midrange.

Sitka Spruce

Spruce is the standard material for soundboards, the most commonly used species being Sitka. Its high stiffness combined with the lightweight characteristics of most softwoods, makes it a recipe for high velocity of sound. A strong fundamental to overtone ratio gives Sitka a powerful direct tone capable of retaining its clarity when played forcefully. This makes Sitka an excellent choice for topwood for players whose style demands a wide dynamic response and a robust, meaty tone. On the other hand, the lack of complex overtones in Sitka can produce a somewhat thin sound when played with a light touch - of course, depending upon the design of the guitar and the other choices of wood in its construction.

Red Spruce

Red spruce is relatively heavy, has a high velocity of sound, and the highest stiffness across and along the grain of all the topwoods. Like Sitka, is has a strong fundamental, but also a more complex overtone content. Tops produce the highest volume, yet they also have a rich fullness of tone that retains clarity at all dynamic levels. In short, red spruce may well be the Holy Grail of topwoods for acoustic steel string guitars.

Maple

Maple, as a result of its greater weight and lower sound velocity, can be downright flat sounding, a blessing in disguise when a guitar is amplified at high sound pressure levels. This is why maple is the wood of choice for electric guitar (some call it a GAT) tops. West Coast big leaf maple is the softest and lightest of the maple family, with a wood grain that resembles waves. Aside from a visually breathtaking pattern, the wavy fibers of 'curly' maple reduce the long grain stiffness and vibrate more freely. (This is the secret to the bright, clear powerful sound of the Parker Fly, the only solid-body guitar made with a curly maple body.

Maple necks can impart a bright "poppy" tone that can do much to reinforce the top end of a large-bodied guitar. Fender electrics tend to use maple necks for the aforementioned "bright poppy" tone. Walnut Black walnut tends to lean slightly more in the tonal direction of mahogany, while claro walnut tends toward tonal transparency.

Alder

Alder is a lightweight wood that is highly resonant, producing a full rich tone. When used for solid-body construction, alder provides a very good low end and midrange with the best performance in the lower mid range. Alder also exhibits good high-end characteristics and sustain.

Poplar

Poplar is a string, dense, yet lightweight hardwood that is unusually resonant. Poplar, when used in solid-body electric guitars, has an exceptionally crisp sound, often described as "spirited" and "bouncy" - even "funky." Poplar guitars are ideal choices for players who favor single-coil snap and clean sound. Swamp Ash Swamp Ash, which grows partially underwater, is a lightweight wood with high stiffness (for high sound velocity), famous for its mid-range snarl and biting response.

Basswood

Basswood is light, stiff, and stable, which makes it particularly effective for necks and bass instruments thanks to its excellent low- end response.

Ebony

Ebony, the traditional material found on the necks of violins, classical guitars, and high-end steel strings, has the lowest velocity of sound of all the woods commonly used and has definite damping characteristics. While not a problem for large-bodied guitars mad of red spruce or Brazilian rosewood, it may be something to consider when designing smaller guitars, particularly those using less resonant tonewoods for tops and backs.