In the intricate world of guitar construction, few names resonate as profoundly as Paul Reed Smith. Known for his exceptional craftsmanship in both electric and acoustic guitars, Smith has firmly established himself as a paragon in the guitar industry since launching his own brand, PRS, back in 1985. His insights carry significant weight, especially when it comes to the heated debate surrounding the impact of tonewoods on a guitar’s sound.
The Tonewood Debate
The tonewood debate is as old as the guitar itself, splitting opinions on whether the wood used in a guitar’s construction – be it maple, mahogany, ash, or alder – fundamentally influences its sound. Detractors argue that a guitar’s tone is predominantly shaped by its pickups, not its body material. However, Smith, with his years of expertise, offers a different perspective, one that he backs with both experience and anecdote.
The Violin Anecdote
During a visit to Germany, Smith encountered a compelling argument that challenges the ‘pickups-only’ perspective. He draws a parallel with violins, positing that if the instrument itself did not matter and only the pickup (or in the case of violins, the microphone) did, then a concert violinist’s choice of violin would be irrelevant. “What a load of crap,” Smith exclaims, dismissing the idea that the craftsmanship and material of the instrument are inconsequential.
The Guitar’s Voice
Smith further explains that the quality of a guitar can be discerned through its ability to produce bright tones on the bass strings and thickness on the high strings, a characteristic that he believes is significantly influenced by the choice of tonewood. The harmonics and resonance of a guitar, he argues, are integral to its overall sound – an element that cannot be solely attributed to pickups.
The Wood-Selecting Experience
Perhaps the most compelling evidence Smith offers comes from an experience involving violin makers at PRS’s wood supplier. These craftsmen, with their finely tuned ears, selected 40 backs for violins from the supplier’s stock. Astonishingly, all the pieces selected were from the same tree – a choice made based on the duration of the wood’s resonance. This incident, according to Smith, unequivocally demonstrates the critical role of the wood in shaping an instrument’s sound.
The Ongoing Debate
Despite Smith’s arguments and experiences, the debate is far from settled. There will always be those who argue that pickups are the predominant factor in determining a guitar’s tone. However, Smith’s perspective, rooted in decades of guitar-making experience, offers a compelling case for the importance of tonewoods.
In conclusion, whether it’s the unique resonance of a specific tree or the intricacies of electronic components, the quest for the perfect guitar tone continues. As for Smith’s standpoint, it offers a rich, nuanced perspective in the ever-evolving discussion about what makes a guitar truly sing.