Tonewood and Materials
Wood is not decoration. It is the instrument. Every species has a voice, and the builder's job is to match that voice to the player.
Sound First
Jeremy designs from the sound outward. The bridge position on the soundboard determines scale length and neck attachment. The soundboard species determines the fundamental tonal character. Everything else follows.
Jeremy calls it the center-out approach. The wood selection conversation is not an afterthought. It is the first real decision in the build.
Aesthetics matter, but they come third, after sound and ergonomics. A guitar that looks beautiful but does not move you when you play it has failed at its primary job.
Soundboard Species
The top is the engine of the guitar. It vibrates, projects, and shapes every note.
Sitka Spruce. The most common acoustic guitar soundboard wood for good reason. The wood is strong, stiff, and versatile. Sitka delivers clear projection with a broad dynamic range. It rewards a hard strummer and responds to a light touch. Jeremy uses Sitka on builds where the player wants an instrument that handles everything.
Lutz Spruce. Lutz is a natural hybrid between Sitka and white spruce, found in the Pacific Northwest. Lutz combines Sitka's projection with additional warmth and complexity. Guitar No. 032 "Skagit Spring" features a Lutz top.
Engelmann Spruce. Engelmann is lighter and more responsive than Sitka. Engelmann opens up faster and delivers a warmer, more nuanced tone out of the box. Good for fingerstyle players who want immediate sensitivity.
Western Red Cedar. Western red cedar is warm, rich, and responsive from day one. Cedar tops do not need to be played in. They deliver full, complex tone immediately. The trade-off is slightly less headroom than spruce under heavy strumming. Cedar rewards players who value warmth over volume.
Salvaged and Specialty Tops. Jeremy sources wood beyond the standard species. Guitar No. 031 "Lyra" features salvaged Western Red Cedar from an old logging bridge. Age and weathering can produce tonal qualities that new wood cannot replicate.
Back and Side Species
The back and sides shape the guitar's overtone character and visual identity. They reflect and contain the sound that the top creates.
Indian Rosewood. The classic choice for steel-string acoustics. It produces deep, complex overtones with strong bass response. Indian rosewood provides the lush, full sound most players associate with a premium acoustic guitar.
Mahogany. The tone is focused, warm, and direct. Mahogany emphasizes the fundamental note with less overtone complexity than rosewood. Ideal for players who want clarity in single-note lines and a dry, punchy tone.
Oregon Myrtle. Oregon Myrtle is a Pacific Northwest species with tonal properties that fall between rosewood and mahogany. The grain is visually striking, with patterns that range from subtle to dramatic. Guitar No. 032 features Oregon Myrtle back and sides sourced from Pacific Rim Tonewoods and Fiddleback Woodshack.
Catalox. Catalox is a dense tropical hardwood with excellent reflective properties. Catalox produces a focused, articulate sound with strong projection. Guitar No. 031 "Lyra" pairs Catalox with a cedar top.
Maple, Walnut, and Others. Jeremy maintains a stock of domestic and imported tonewoods. During the concierge wood selection process, you can discuss species beyond the standards. Availability changes with sourcing.
Neck and Fretboard
Neck Construction. Jeremy uses both solid and laminate neck construction. Three-piece laminate necks appear on several instruments, providing stability against seasonal wood movement. Neck profiles are shaped by hand to the player's preference.
Ebony Fretboards. This wood is dense, smooth, and durable. Ebony is the standard fretboard material for its playing feel and resistance to wear.
Rosewood Fretboards. Rosewood is slightly warmer in feel and appearance than ebony. A good choice for players who prefer a less slick surface.
Hardware and Finish
Gotoh 510 Tuners. Standard on every Pappenfüs guitar. The feel is smooth, precise, and reliable. Gotoh 510 tuners are the quiet choice of builders who prioritize function over flash.
French Polish Shellac Body. The finish is applied by hand, layer by layer. French polish is the thinnest practical finish for an acoustic guitar. It lets the top vibrate freely and allows the instrument to open up over time. The finish improves with age.
Osmo Poly-X Neck. The neck gets a different finish than the body. Osmo poly-x provides a durable, smooth surface where your hand slides up and down the neck. It wears well and does not get sticky in humid conditions.
Binding and Inlays. Materials vary by instrument. African Paduk, Bird's Eye Maple, and other species appear as binding and inlay materials depending on the build design.
See the Wood in Person
Concierge wood selection is included in every custom build. Visit the Columbia Falls shop or schedule a Zoom session to discuss your options.