Guitar Construction: Solid Wood Versus Laminated Wood

Guitar Construction: Solid Wood Versus Laminated Wood

Guitar Construction: Solid Wood Versus Laminated Wood

Solid Adirondack top and Solid Rosewood back for Homestead Guitars

In acoustic guitar, the guitar’s body has a major role in determining the sound a guitar produces. Although the main source of the sound of a guitar originates from the strings, it is resonated and amplified by the guitar construction: i.e. fretboard and guitar’s body, producing the acoustic sound people hear from the guitar. Yes, the fretboard resonates and amplifies the strings’ source sound, but with acoustic guitar, most of the sound is resonated and amplified by the body of the guitar.

The body of an acoustic guitar comprises the top, side, and back of the body. The top of the body is the crucial part, where most resonation happens. The side and the back of the body are mainly to amplify the resonation from the top. 

 An acoustic guitar body can be made of laminated wood, solid wood, or a combination of solid wood for the top and laminated for the side and back. 

There are different types of laminated wood. You can find for instance an all-wood laminated construction of different layers glued on top of each other, such as three-layered laminated wood, where the interior and exterior layers use tone wood veneers (spruce, sapele, rosewood, etc.) and the core uses cheap wood (poplar). There is also laminated wood that uses non-wood materials as the core of the laminated layer, such as high-pressure laminate (HPL)(see next picture). 

The characteristics of laminate wood on guitar

Laminated wood is comprised of several layers of materials, as mentioned above. The composure of these layers dampened the free movement (vibration) of the wood as a resonator and an amplifier.

Laminated wood is cheaper than solid wood. Laminate wood is also more durable against weather changes.

Solid top grain continues along the entire edge, visible from the side of the sound hole.

Because of its natural and dense composition, solid wood is a better resonator and amplifier compared to laminated wood. 

Solid wood in general produces more waste (unusable wood excess) compared to laminated wood. This is why solid wood is more expensive compared to laminated wood. 

Sound characteristics

Wood
Laminated wood only
Solid top in combination with laminated back and sides
All solid wood
Resonation
Low
Medium-high
High
Sound
Relatively dampened because laminated wood is less resonating and less amplifying if it is compared with solid wood
Better than an all laminated guitar, because most resonation comes from the top, but worse compared to a solid guitar
Produces the best expression, volume, and sustain

Conclusion

An all-solid wood guitar produces the best expression, volume, and sustain compared to a laminated guitar and a solid top guitar. The combination of a solid top, that best in resonating the strings’ sound, and the solid back and side, which is best in amplifying the sound created from the strings and top wood, will create a much richer and dynamic sound.

Moreover, as the solid wood ages, it will increase the tonal quality it produces, while the sound of laminated wood will not get better as it ages. 

Homestead and Javatar Guitars are made using all solid wood construction. The body construction also uses 100% quarter-sawn wood since our goal is to build the best acoustic guitars with the best sound. Furthermore, for Homestead Guitars we use the best available grade of Adirondack Spruce for the top wood of our guitars. You can read more about Adirondack spruce in the article “Why is Adirondack the best top for your guitar?”.

Terminology for the sound of an acoustic guitar

Terminology for the sound of an acoustic guitar

Terminology for the sound of an acoustic guitar

In the guitar world, guitarists discuss the timbres guitars produce in terms that may not be familiar to many musicians. This glossary briefly describes some of these terms, without aiming for completeness. Judging sound is of course very personal. For example, one guitarist prefers sparkling highs and the other prefers warm bass tones. Tastes differ and that is of course allowed. But to get to know those different flavors, here is a glossary:

Attack: The response of a guitar – or in other words, how quickly the sound reaches its peak volume. By playing with a pick, for example, you get much more attack.

Balance: A guitar where lows, mids and highs support each other and the notes flow into one harmonic entity.

Bassy: A guitar where the bass tones dominate. The larger the guitar, the more powerful the bass response. 

Bright: A guitar where the high tones dominates, in other words a guitar in which the treble is emphasized.

Complex: A guitar sound in which the tones contain a lot of harmonic detail in both the higher and lower frequencies.

Compression: The way a guitar produces a natural equalization effect. A mahogany top produces more equalization than for instance spruce. The equalization effect can reduce the attack when strumming vigorously.

Crispy: A ‘crispy’ sound can be characterized by its sharp tone with a clear and precise attack. The emphasis is on the high tones. 

Dark: the bass tones dominate.

Dry: Tones with a strong low focus, minimal overtones and a short sustain.

Fierce: A fierce guitar sounds sharp with a high attack and lots of treble

Growling: A particular overdriven sound produced by a guitar with a larger body, often as a result of a hard playing.

Intonation: The accuracy with which the notes on the different frets match the correct pitch.

Piano-like: A guitar that sounds like a piano with bright sparkling tones and excellent clarity of individual notes.

Projection: The physical range of the sound, in other words, the sound of a guitar with a lot of projection extends beyond those with a low projection.

Resonant: A guitar with a high resonant sound is characterized by long sustain with a strong presence in the lower and midrange frequencies. The guitar has a high reverberation and the tones blend harmoniously. See also warm, woody, complex and rich sound characteristics .

Responsive: A guitar’s response refers to how the guitar reacts to being played. A responsive guitar makes it easy to play soft and loud tones with subtle variations in volume and tone. The sound is then clear and full.

Rich: When an acoustic guitar produces a rich sound, it exhibits a well-balanced frequency response across the low, mid and high ranges. A rich sound refers also to the terminology of warm, resonant, woody and complex timbres. 

Round: Guitar with a round sound does not sound sharp. Low and mid are more dominant than high.

Sparkling: Usually used to describe acoustic guitar tone with pleasing clarity and tone definition, often with more overtones and no distortion. Especially the tones higher on the neck sound ‘sparkling’. See also “Piano-like”. The high tones also often linger for a relatively long time. Sparkling is often used as a counterpart to ‘warm’.

Sustain: The length of time that a note continues to be heard.

Warm: A sound with relatively many low and mid frequencies and somewhat softer high frequencies.

Wide: A ‘wide’ guitar sound refers to a sound that has clearly audible lows, mids and highs, in other words, guitars with a spacious or expansive character. In addition, the ‘wide’ sound is also characterized by natural reverberation and a lot of sustain.

Woody: A woody sound refers to a warm, resonant tonal quality that resembles the natural characteristics of wood. The emphasis is mostly on the midrange frequencies. 

Woolly: Warm sound, but with less sustain.

Which tones characterize Homestead guitars?

To answer that question, as we are not objective, we use the comments from the test reports of the magazine Guitarist.

“An impressive volume, with a warm timbre. The sound is perfectly balanced in proportion. This guitar sounds very exuberant and responsive right out of the hardcase, with a nice sustain. The intonation is perfect, so is the adjustment” (test of a Grand Auditorium with cutaway, Guitarist no. 319, October 2017).

“It is noticeable that the Slopeshoulder Dreadnought has a slightly firmer low end and sounds a bit less bright (than an OM with cutaway).” (Guitarist no. 333, December 2018).

About a 12-fret DS: “The sound of this DS is indeed a breath of fresh air. Lows, mids and highs are perfectly matched and the guitar is also very responsive, reacting instantly to the dynamics of your playing. The volume and projection are also impressive.” (test of a 12-fret Dreadnought Slopeshoulder, Guitarist no. 344, November 2019).

About the two Danny Vera models, a jumbo and an OM: “The sound of both guitars is equally impressive. The jumbo has a slightly louder and wider sound, which occasionally resembles a piano. The OM sounds were lighter and more defined. The difference in sound cancels out the similarities: a particularly beautiful, balanced sound.” (Guitarist no. 359, February 2021).

Robin van de Poll, 18 July 2023

The Homestead Models: Various Shapes of Guitar Bodies

The Homestead Models: Various Shapes of Guitar Bodies

Homestead models: different shapes of guitar bodies

 

At Homestead Guitars, we offer a variety of guitar shapes for customers to choose from. Besides the appearance, the shape of the guitar’s body also produces different tonal colors and a different feel when you wrap your arm around the guitar’s body. The best way to get to know the differences between these models is to try them out yourself, which you can do in our showroom.

 

The most important factors in choosing the right guitar model are the playing comfort, the sound and the ‘looks’ of the model.

 

Playing comfort

Let’s start with the playing comfort. Choose a model that you can easily play on. If you are relatively short, don’t get a Jumbo model, otherwise the guitar may cause pain in your arm or back. Guitarists with chronic back problems also often opt for a smaller guitar model.

 

The sound

A second factor is the sound of the guitar. With a smaller body, e.g. the Orchestra Model (OM), the higher notes resonate more relative to the mids and lows, while with a larger/wider body (Jumbo, Dreadnought) the lower notes dominate slightly more relative to the mid and high. Keep in mind that the sound of the guitar is determined by several factors, such as the wood species and a 12-fret or 14-fret (neck and body) connection (see also under FAQ). But the design of the guitar model also has an influence. So it’s not just about size. A Dreadnought is often said to be good for strumming and country, while the OM is more appreciated for fingerpicking. Also, the placement of the waist (the narrow part of the guitar) and its width change the way the vibrations move in the guitar and this can have a small effect on the sound. This all remains very personal and the best thing is to try out different models and choose what you like best.

The looks

Finally, the appearance of a guitar can also influence the final choice. This is also very personal. For example, the OM, Jumbo and Grand Auditorium have a thinner waist than the Dreadnought. The Dreadnought guitar is named after an early 20th century English battleship. The Dreadnought guitar is in fact much larger than, for example, the compact Parlor or Parlor model that was common until then. Some guitars have a cutaway. A cutaway has a clear function (see also under FAQ), but is sometimes also bought because of its appearance on the guitar.

 

Below we discuss various common guitar models with the associated common opinions.

 

Traveler model

Traveler is the smallest body shape Homestead has to offer for six string guitars. As the name says, it is a guitar for a traveler, but not only. The traveler model is also a perfect guitar for the couch and also for the guitarist looking for a compact size guitar to play with. In terms of tone, Traveler guitars produce higher pitched sounds compared to other guitar shapes. This is due to the smaller sound box and the shorter length of 590 mm with which the traveler guitars are equipped. Although small in size, the standard use of Adirondack spruce (AAA grade) on all of our Homestead guitars gives our Traveler-sized guitars the long sustain of our other models. Owners of Homestead traveler guitars have been amazed at the sound their guitar can produce since they first played it. True to its name, each Homestead Traveler guitar comes with a gig bag with 2cm padding instead of the (heavier) case for the other models. [Buy our Traveler model] [Customize your Traveler model]

Parlor model

The Parlor model in general is one of the first steel string acoustic guitar models. Until the early 20th century, this was the most commonly built acoustic guitar model, mainly because it was affordable. The name Parlor comes from ‘salon’ where (according to the stories) the lady of the house could receive her guests with singing and guitar. The Parlor developed into the blues guitar par excellence in the 1920s and 1930s. The Parlor model is the second smallest model (after the traveler) from Homestead. It has a slim sound box and a scale of 610 mm. Due to its slim size and shape, the Parlor guitar has a distinguished mid-tone compared to other guitar models that tend to be larger. The slim size also gives a more relaxed playability where you can effortlessly rest your arm on the body of the guitar. The standard use of Adirondack AAA grade top (the best top wood for acoustic steel string guitars) provides a long lasting sound and a unique timbre compared to other Parlor guitars. Every Homestead Parlor guitar comes with a gig bag with 2 cm padding. [Buy our Parlor model ] [ Customize your Parlor model]  

Orchestra model

The Orchestra model is the best model for the fingerpicking style. The mid-sized body clearly articulates each note and produces more intimate sounds when played lightly. Compared to a larger model, the volume the Orchestra Model produces is not loud. But we offer two depth sizes: the standard 9.5 cm / 11 cm thickness and the extra thick 11 cm / 12.5 cm thickness. Due to the extra thickness of the last option, the volume of our OM is loud enough to compete with the volume of the larger models. Another way around the volume problem is to use electronic pickups, for example when playing along with other loud instruments. The average size of the body of an Orchestra model is very comfortable for most guitarists. The guitar is neither too small nor too big. The thicker depth gauge is no thicker than any other model, which should not give an uncomfortable feeling to the guitarist used to playing acoustic guitars, be it a classical guitar or a Dreadnought guitar. The thinner side size is more comfortable to play compared to a wider one. Our Orchestra Model guitars come with an ABS case with the Homestead logo embossed on the case cover. Proud owners of Homestead Orchestra Model guitars are Geroge Kooymans, Ernst Jansz, Barry Hay, Simon Kirke, David Becker, Joost Dijkema, Bas Phaff. [Buy our Orchestra model ] [ Customize your Orchestra model]  

Grand Auditorium-model

Grand Auditorium is one of the best-known models among steel-string acoustic guitars. This guitar falls under our larger guitar models. The Grand Auditorium has a nice round shape and the body is large enough to produce power for an acoustic guitar. The round and large size makes the Grand Auditorium guitar good for strumming, fingerpicking and flatpicking (with pick). An all-rounder guitar compared to the other models. The bottom width of our Grand Auditorium model is 39.5 cm wide. The guitar has, after our Jumbo model, the second widest size at the bottom of the body. For many guitarists, this size is a perfect fit. The Homestead Grand Auditorium model comes with the Homestead logo embossed on the hard case cover. Grand Auditorium model has been selected by many great guitarists, among others: George Kooymans, Jan Hendriks, Frank Carillo, I Wayan Balawan and Vladimir Tkachenko.
[Buy our Grand Auditorium- model] [ Customize your Grand Auditorium-model]  

Dreadnought-model

The Dreadnought is one of the oldest and most widely produced steel-string acoustic guitars. The dreadnought was first invented by CF Martin of Martin Guitars in 1916. The dreadnought model has a squarer shoulder and wider waist compared to the other models. Due to the wider waist, the upper wood section is wider compared to Grand Auditorium. This makes the dreadnought model more robust for a heavy strumming style and a little less graceful for a fingerpicking style. Our dreadnought model has a wide side measurement, 11 cm at the neck side and 12.5 cm at the tail side. This gives more volume acoustically. Thanks to the Adirondack spruce we use as our standard top, the tonal balance* is still clear, even though the dreadnought produces a high sound volume. The dreadnought models have been selected by, among others, the following guitarists: Boudewijn de Groot, Laura Beekman.
[Buy our Dreadnought- model] [ Customize your Dreadnought-model]  

Dreadnought Slope Shoulder-model

The Dreadnought Slope Shoulder (DS) model is similar to a dreadnought model, except it has a rounder shoulder instead of the square top of the body of a regular dreadnought. The bottom of our Slope Shoulder Dreadnought is wider than the bottom of a normal dreadnought, and the top is narrower. In terms of size, both a regular dreadnought and a slope shoulder dreadnought are a similar size. The size of the side of the Slope Shoulder is also the same as a regular dreadnought. Due to these two factors, the volume of both Dreadnought models is almost the same. Our Dreadnought Slope Shoulder has a balanced tone thanks to the Adirondack Spruce top that we use as our standard top. But in terms of the color of the sound, the sound spectrum of the slope shoulder model is between regular Dreadnought and a Grand Auditorium; higher attack than the Grand Auditorium and softer sound than the regular Dreadnought. Homestead Dreadnought Slope Shoulder model has been selected by, among others, the following great guitarists: Eddie Seville, Tim Easton, Laura Beekman. [Buy our Dreadnought Slope Shoulder Model] [ Customize your Dreadnought Slope Shoulder Model]  

Jumbo-model

The Jumbo model is the largest model Homestead Guitars has to offer. The bottom bolt is 51.5 cm wide. Due to its large size, the Jumbo model creates the loudest sound of all the models we have to offer. Although this model is the loudest, the tonal balance is still perfect, thanks in part to the use of Adirondack Spruce as our standard top.

Many guitarists who visited our showroom and tried the Jumbo model noticed that the lower (bass) tone sounds a bit heavier compared to the other models. But when you focus on the higher (treble) note, you also hear beautiful sparkling tones. The balance between low, mid and high is amazing.

Speaking of playing style, the Jumbo gives a particularly nice sound for strumming, the sound created by strumming is wide and loud, but still balanced. The Jumbo model is also good for flat-picking style (using pick) and fingerpicking, but the latter will have a slightly less intimate sound created with the loudly built Jumbo model. But this is also very personal and many professional players prefer the fingerpicking sound on a jumbo.

In addition to 6-string guitars, the Jumbo body is also used for the Homestead Baritone guitar and the Homestead acoustic bass guitar.

Some of the great guitarists who have chosen Jumbo models for their own Homestead guitars are Danny Vera, Spike van Zoest, Leoni Jansen (standard and baritone guitar) and the late Henny Vrienten (baritone guitar and acoustic bass guitar).

[Buy our Jumbo- model] [ Customize your Jumbo-model]

 

*What does it mean:

Tone Balance: The same level of volume between high tone(treble), middle tone (mid), and low tone (bass).

Why does the B string on the guitar sound a bit out of tune?

Why does the B string on the guitar sound a bit out of tune?

Why does the B string on the guitar sound a bit out of tune?

A common problem people run into when playing guitar is that sometimes the B string doesn’t sound that great even though it’s perfectly tuned. In other words, if you tune the B string perfectly to the G string, the B string will sound a bit out of tune with the other four strings. How come?

Briefly explained, the reason why the B string always sounds a bit out of tune is that in the West we use a 12-tone tuning system, which is not 100% consistent with the way sound is measured in Hertz by the laws of physics.

If we walk across the fretboard of the guitar from bottom to top, there are 12 steps to get to the same note an octave higher. The notes that make up tuning system in Western music are divided into 12 different tones per octave. Technically, this system is “unnatural”, and that is because it does not equal the exact speed of the vibrations, measured in hertz, that make up the sound of each note.

Let’s look at the relationship between the six strings. You will see that the guitar strings, with the exception of the B string, are the same distance apart. Below are the tunings of each string on the guitar, measured in hertz.

E
B
G
D
A
E
329,6276
246,9417
195,9977
146,8324
110
82,40689
Hertz
Hertz
Hertz
Hertz
Hertz
Hertz

In physics, every tone must be a multiple of the same tone an octave higher or lower. The only tone without a comma is the A. The A string on a guitar is 110 Hertz, one octave higher it is 220, etc. If we divide the values of the E string indicated above, it comes down to a factor of 4 .

But if we start designing the guitar based on hertz, then we get an unplayable instrument (see photo below). That is why (in Europe) the 12-tone scale has been used.

Example of a microtonal guitar. (This guitar was not built by Homestead)

The fact that a twelve-tone system does not fully correspond to the sounds of nature does not explain why it is mainly the B string that intones.

This is because the distance between the B string differs from that of the other strings. All the other strings are separated by four notes. E to A, are five semitones apart, just like A to D and D to G, but here’s the thing: from G to B there are only four semitones away from each other. Finally, the B to E strings are again five steps apart.

But why does distance determine voice clarity? That’s because the mathematical ratio of frequencies that the human ear interprets to represent a pure scale creates a slightly smaller interval than the scale needed to play the music.

At a distance of a quarter (5 notes) this is actually inaudible to the human ear. But with the shorter (four) distance from G to B this is audible. The deviating distance is therefore the reason why the B string sounds out of tune. Because the G string and B string are closer together, the inaccuracy in Hertz is up to 14%. As a result, if you tune the B string so that it sounds clean along with the G string, you will run into problems in conjunction with the other strings. Conversely, if you tune the B string with a tuner, it will sound too high in the ear compared to the G string.

In other words:

  • The B string in perfect harmony with the G string: B string sounds too low compared to other strings
  • The B string tuned to 247 Hertz: B string sounds too high compared to the G string.

 For this reason, there are guitarists who deliberately detune the B string a little bit (tuning by ear). We also see bridge saddles with a recess for the B string or for the G and B string together (photo). That has somewhat the same effect.

Summarizing

It is all quite difficult to understand, but in summary we can say that the tones on a guitar do not correspond 100% to the sound according to the laws of physics (measured in hertz). This is usually inaudible, with the exception of the B string (in relation to the G string). Because this distance is shorter than the “perfect quarter”, the inaccuracy becomes greater. Most guitarists can live with this. Other solutions are: tuning the B string by ear, getting a modified bridge saddle (does not solve the problem completely) or buying a guitar with different frets.

We at Homestead, like 99.9% of guitarists, can live with the slight unevenness in the guitar’s scale. But we thought it would be interesting to explain why the B string often sounds a bit out of tune.

Robin van de Poll
Adjusting the ‘Truss Rod’

Adjusting the ‘Truss Rod’

Adjusting the ‘Truss Rod’

A guitar can at some point start to resonate or buzz, in particular higher on the neck. Or the guitar gradually becomes more difficult to play because the distance between the strings and the fretboard or neck (called action) has increased. It is quite normal for this to happen. Wood is a natural product and has a tendency to shrink or expand a little during climate changes. This can lead to resonances on the neck of an acoustic guitar or just the opposite, your fingers have to press the strings deeper (this is called a high action).

Now every Homestead, like all other acoustic guitars, has a metal pin mounted in the neck. You can’t see this pin, called Truss Rod, but it can be easily adjusted from the sound hole with the supplied Allen key.

When turning counterclockwise, there is a little more concavity and any resonance or buzzing disappears. Turning clockwise lowers the action and makes the guitar easier to play. First turn it half a turn, tune your guitar again and check whether the neck is the way you want it. If you are still not satisfied, turn it another half turn. Continue until you are satisfied.

It seems quite complicated at first glance, but it is not at all. Adjusting the Truss Rod can be done within a minute. The strings can simply remain under tension and by turning the Truss Rod one or two half turns, the guitar will play and sound like before. I myself protect the D and G string with a piece of cloth against the Allen key. Not really necessary, but very handy.

Robin van de Poll, 4 july2022

Warum ist Adirondack die beste Decke für Ihre Gitarre?

Warum ist Adirondack die beste Decke für Ihre Gitarre?

Die Adirondack Mountains liegen im Norden des Bundesstaates New York. An seinen steilen Berghängen wächst eine einzigartige Rotfichte, die das weltweit feinste Tonholz für die Herstellung von Gitarrendecken liefert.

Die Rotfichte (Picea rubens) ist ein mittelgroßer immergrüner Nadelbaum. Diese Art ist die typischste Nadelbaumart der gesamten Adirondack-Region. Die Adirondack-Fichte produziert Holz, das stark, leicht und klangresonant ist. Mit anderen Worten, das perfekteste Holz für einen Resonanzboden. Das zeigt und hört unser amerikanischer Lieferant von Adirondack im folgenden Video:

Das allerbeste Holz stammt von den Fichten, die hoch oben auf dem Berg an der Nordseite wachsen. Je kälter desto besser. Diese Bäume wachsen am langsamsten, was zu einem dichten Korn führt. Dadurch wird das Holz härter und das ist gut für die Resonanz.

Neue Niederlande

Es ist interessant zu wissen, dass diese Region im 17. Jahrhundert einst ein Kolonialgebiet der Niederlande (Neue Niederlande) war und dort nach Gold gesucht wurde. Unsere entfernten Vorfahren verhielten sich dort gegenüber den Ureinwohnern sehr gewalttätig. Lesen Sie mehr dazu im Blogartikel: „Das Gold von Adirondack“

Was macht Adirondack so besonders?

Sitka- und Engelmann-Fichtenholz wird bei weitem am häufigsten für Akustikgitarrendecken verwendet. Was macht Adirondack im Vergleich zu diesen anderen Fichtenarten so besonders?

  • Im Vergleich zu Sitka- und Engelmann-Fichte genießt die Adirondack-Fichte einen langen historischen Ruf. Beispielsweise wurden die meisten hochwertigen Vorkriegsgitarren (z. B. von C.F. Martin) mit Adirondack gebaut.
  • Das Holz ist außerdem äußerst selten, da es aus einem Nationalpark stammt, in dem alle Bäume geschützt sind. Dieser Schutz gilt auch nach einem Umfallen oder Umfallen. Nur eine begrenzte Anzahl von Holzlieferanten erhält die Erlaubnis, das begehrte Fichtenholz aus dem Park zu gewinnen.
  • Die Seltenheit hängt zum Teil damit zusammen, dass diese Fichte nur in der nordöstlichen Ecke Nordamerikas zu finden ist. Dieser Baum kommt außerhalb der Region nicht vor.
  • Der legendäre Baum produziert Holz mit einer viel engeren Maserung als jede andere Tanne. Dadurch wird das Holz härter und schwingt dadurch besser.
  • Obwohl es sich um eine Rotfichte handelt, ist die Farbe des gesägten Holzes im Vergleich zu anderen Fichten heller, fast weiß.

Aufgrund der geringen Verfügbarkeit und der großartigen Resonanz ist der Preis für Adirondack in AAA-Qualität im Durchschnitt dreimal höher als der Preis für Sitka oder Engelmann. Aus diesem Grund verwenden die meisten High-End-Marken Adirondack nur für ihre allerbesten Gitarren, die oft über 4.000 US-Dollar kosten.

Homestead verwendet Adirondack bei allen Modellen

Da der Klang so viel besser ist als bei anderem Fichtenholz, verwendet Homestead bei allen seinen Modellen standardmäßig Adirondack-Holz. Unser amerikanischer Lieferant, John Griffin von Old Standard Wood, reist regelmäßig in die Adirondack Mountains, um das allerbeste Holz auszuwählen.

Bei der Auswahl der verfügbaren Oberteile geben wir uns nur mit höchster (AAA) Qualität zufrieden und achten auf verschiedene Qualitätsaspekte. Weitere Informationen zu unseren Auswahlkriterien: Adirondack

Kurz gesagt: Adirondack-Standard bei allen unseren Modellen, was einer der Gründe ist, warum ein Homestead so gut klingt.

Robin van de Poll, 26. April 2022