Anyone tried an archtop with walnut back/sides?

[Encinitastubes]

A few times a year I revisit my dream of having an archtop made. It will happen, maybe not now but eventually. Does anyone have any experience with an archtop made of walnut. I've been thinking about woods. If I were to commission a one-of-a-kind instrument, I might want something not traditionally available in production models. Pix and thoughts appreciated!!

[fonkyfingers]

There is a reason why most archtops made from solid wood have spruce tops and maple backs and sides. IMHO: what might be sexy on flat top guitars could turn you off on an archtop. Maybe a luthier is kind enough to explain how to use (or not to use) walnut on an archtop guitar...

[wintermoon]

old 1930s Epiphone Broadways w/walnut back and sides are typically loud but a bit bright sounding

[fws6]

I owned two 37/38 Epiphone Broadways , those had walnut back and sides

apparently was much harder to carve so after a few years went back to maple

Walnut makes for a bit lighter guitar , and gives it a some more volume

i sold one to a member here perhaps he can comment. It was a great sounding guitar.

So I would say, go for it.

[rpguitar]

Walnut is supposed to be very similar in tone to maple, perhaps with a bit more midrange "ring" to the sound (this is so variable in any case; let your luthier work his magic). I wouldn't hesitate to spec walnut B&S on a bespoke guitar if the builder was familiar with its characteristics.

Daniel Slaman made a gorgeous 16" cutaway L-5 style with walnut - there's a video too:
DS-4 Walnut # 32114 - New Vintage Guitars

[Encinitastubes]

Walnut is supposed to be very similar in tone to maple, perhaps with a bit more midrange "ring" to the sound (this is so variable in any case; let your luthier work his magic). I wouldn't hesitate to spec walnut B&S on a bespoke guitar if the builder was familiar with its characteristics.

Daniel Slaman made a gorgeous 16" cutaway L-5 style with walnut - there's a video too:
DS-4 Walnut # 32114 - New Vintage Guitars

Thanks for posting. That Slaman is almost unbearably beautiful!

[MikeConner]

I've built two Englemann spruce, walnut back and sides, and curly maple binding and neck. These are X-braced fully carved 16" archtops. Somewhat warmer and fuller range sound than red maple I have also used for this design. This one is a gift for a friend in NC.



Sorry about the sideways images, not sure how to rotate them. I posted a build journal a few months ago, and can provide an updated version soon if there is some interest.

[TH]

I've got a walnut. I'll post pix when I'm with the guitar again. Very similar in character to maple, I chose the wood as a challenge to work with a different wood, but it turned out to not be a challenge at all. It's bright and woody like maple and not difficult to work. Resonant and responsive. I tend to build light, being a finger style player, and this guitar, with a cedar top, gave me a guitar that had the balance roundness I wanted from an archtop, and a clarity that allowed all my lines to come through clearly.
Personally, I think one reason it's not more widely used is simply that customers accept tradition as gospel. Collectors fantasize about the guitars of the past and in the past, they just didn't use it. There's no real acoustic or lutherie related reason not to.
It also has the unique character of getting lighter with time, so wonderful figure and streaks appear as the wood ages.

David

[travisty]

That Slaman DS-4 looks wonderful.

[Jabberwocky]

I wish Black Walnut and Claro Walnut were used more for guitars. Beautiful wood, widely available, ecologically-friendly, and looks as beautiful as figured wood gets.

Bryant Trenier made a few archtops in Black Walnut and Claro Walnut:

2012 Trenier Broadway

https://www.archtop.com/ac_09trenier_bwy_714.html

[cmajor9]

I owned two 37/38 Epiphone Broadways , those had walnut back and sides

apparently was much harder to carve so after a few years went back to maple

Walnut makes for a bit lighter guitar , and gives it a some more volume

i sold one to a member here perhaps he can comment. It was a great sounding guitar.

I'm the one who bought Frank's 37 Broadway. Its actually one of two archtops I have with walnut b & s - the other is a 1950 Levin Royale (16-1/2"). I agree with what he says, and would add that IMO if there is any tonal difference, its that the walnut makes the sound a bit mellower, less bright than an equivalent maple-bodied guitar would be. I like both my walnut guitars a lot!

[Greentone]

My dealer/buddy once dropped off an Epiphone with walnut back and sides. I don't now recall the model, but it was a '30s guitar. (Non-cutaway, sunburst top, brown sides and back, simple ornamentation) The guitar had a bright, peppy, zingy sound. It could be heard pretty well right through the din of any acoustic situation I played it in. It definitely had more acoustic power than my Gibson acoustic archtop. I would describe the tone as being thinner, however, than the Gibson's.

[skykomishone]

I owned two 37/38 Epiphone Broadways , those had walnut back and sides

apparently was much harder to carve so after a few years went back to maple

Walnut makes for a bit lighter guitar , and gives it a some more volume

i sold one to a member here perhaps he can comment. It was a great sounding guitar.

So I would say, go for it.

A friend of mine owns one, which I played a couple of months ago. It was an awesome guitar. Sounded and looked spectacular. Gave me guitar envy.

[iim7V7IM7]

I have seen some gorgeous quartersawn, figured Claro Walnut billets for sale from time to time. It is however slightly more dense on average than Sycamore Maple (Euro) or Honduran Mahogany and more dense than Bigleaf Maple. It is more akin to mahogany in terms of its acoustic damping than most maples. I too would like to see more builders work with it. Black Cherry is another underutilized wood as well.

[2bornot2bop]

Walnut is supposed to be very similar in tone to maple, perhaps with a bit more midrange "ring" to the sound (this is so variable in any case; let your luthier work his magic). I wouldn't hesitate to spec walnut B&S on a bespoke guitar if the builder was familiar with its characteristics.

Daniel Slaman made a gorgeous 16" cutaway L-5 style with walnut - there's a video too:
DS-4 Walnut # 32114 - New Vintage Guitars

Gorgeous guitar. How does he get away with using the headstock design, complete with inlay, and an "L5" tailpiece?

[mr. beaumont]

I've built two Englemann spruce, walnut back and sides, and curly maple binding and neck. These are X-braced fully carved 16" archtops. Somewhat warmer and fuller range sound than red maple I have also used for this design. This one is a gift for a friend in NC.





Sorry about the sideways images, not sure how to rotate them. I posted a build journal a few months ago, and can provide an updated version soon if there is some interest.

Mike, that is absolutely gorgeous.

[pingu]

Mike, that is absolutely gorgeous.

totally

These are X-braced fully carved 16" archtops. Somewhat warmer and fuller range sound than red maple I have also used for this design. This one is a gift for a friend in NC.

i wish i had friends like you !

[MikeConner]

Jeff and Pingu,
Thanks for the kind words. I am really lpleased with how the Walnut-Englemann combination sounds. With X bracing it has more of a balanced tone compared to the traditional tone bar braced archtop with the mid-range "thonk". More sustain and overtones. I think the walnut adds to the balanced tone, and the whole guitar is alive with vibrations when played.

At 16" these are not loud guitars that will dominate an acoustic jam. But I really like the tone, and the contrast of the wood tones looks good to me. A little more work compared to building in maple since I used ebony filler for the open walnut grain to achieve a smoother appearance. Still working on my building and especially finishing skills, but happy with the sound. I can see this becoming a "standard model" in the future.

Our friend is a wonderful, friendly and encouraging man. He has been a great mentor to others and manages to light up a room with his personality, yet remains humble. He has no idea at this point that he is getting this guitar. The inside of the top has been signed by family, church friends, picking buddies and others he has touched through life. His wife passed the top around in secret over about 3 months and he never caught on. In two weeks he attends a "pickin' and eatin' gathering and everyone will be there to see him receive this guitar. (I'm pretty sure he doesn't frequent this site or I have just let the secret out!). What a blessing to do this for him.

To the OP and others. Lets keep an open mind and ears to new possibilities. I deeply respect the traditional forms and tones, but jazz players especially seem to be open to experiment.
//mike