Timber Characteristics on Cole Clark guitars.

Top or Face Timbers

Below are listed our top or face timber options from softest to hardest. If you are a finger picker or play softly and want a traditional tone un-amplified or amplified then we advise you check out the softer timbers. If you play medium to hard, are a percussive player and want to amplify the guitar we suggest the harder or stiffer timbers.

Western Red Cedar: Thuja Plicata

This is sourced from Alaska and has a very close grain. It can get pick marks and scratches easily but is very resonant. The top will vibrate without needing to play the guitar too hard giving a great sound for a soft player. We definitely like the way this timber works with Cole Clark guitars. When you strum hard, it compresses. This is not a timber for hitting or tapping.
Air Dry Density 380
Modulus of Elasticity 8.3
Janka Hardness 1.5
For a soft player or finger picker amplified or acoustic. For a studio acoustic
Not for a percussive player
A more traditional American sound but with the Cole Clark neck through character. This is a sustainable timber.

King William Pine (King Billy Pine): Athrotaxis selaginoides

This is listed as vulnerable on the Red List and is highly protected in Tasmania where it comes from. We have a small amount from a cache of timber collected by a guitar builder in the 1950’s. It looks like western red Ceder and makes a great top. It is a unique piece of Unobtanium.
Air Dry Density 400
Modulus of Elasticity 6.8
Janka Hardness 2
Good all-rounder, good for strumming and finger picking.
Not for a percussive player.

Californian Redwood Sequoia: Sequoiadendron giganteum

Slightly stiffer than Western Red Cedar. Still a great top for softer players but gives great resonance for strummers as well as finger pickers. This is a stunning urbane recovery timber which we source from Australia from trees planted around 150 years ago. We feel this works really well on a wide variety of Cole Clark models. This is not a timber for hitting or tapping. It will compress slightly if strummed really hard.
Source: Taungurung Country (Jamieson Victoria), Dja Dja Wurrung Country (Daylesford Victoria), Wurundjeri Country (Sassafras Victoria)
Air Dry Density 420
Modulus of Elasticity 9.2
Janka Hardness 2.1
For a soft to medium player or finger picker amplified or acoustic
For a studio acoustic
Not for a percussive player
A more traditional American sound but with the Cole Clark neck through character. Our supply is sustainable urban recovery which we started in 2014.

Sitka Spruce: Picea sitchensis

This is sourced from Alaska and is the traditional tone wood for tops. While not endangered, musical grade Spruce is 250 years old and this is a very limited resource. This is the biggest selling top for most guitar makers, but not Cole Clark. We feel it works nicely on specific models but is decreasing in popularity in comparison to Redwood and Bunya for our build.
Air Dry Density 430
Modulus of Elasticity 11
Janka Hardness 2.3
For a medium player amplified or acoustic. Not for a percussive player. There is less than ten years supply of Sitka Spruce in 250 year old trees which are needed for 2 piece tops.

Bunya: Araucaria bidwillii

This native sustainable Australian tone wood sourced from Queensland. Bunya is responsible for about 30% of the tops we sell. It is a big robust top sound, perfect if you
want something stiffer and more dynamic than Redwood and less stiff than Blackwood
Source: Gubi Gubi, Waka Waka and Badtsala Countries (South East Queensland)
Air Dry Density 460
Modulus of Elasticity 11
Janka Hardness 2.3
Signature Cole Clark acoustic sound
For a medium to hard player, especially amplified
OK for a percussive player
Handles climate extremes better than the softer timbers. This is a sustainable timber.

Silver Quandong: Elaeocarpus grandis

As a top timber, it is stiffer than Bunya and Spruce, with a great strength to weight ratio. It has a similar sound to Bunya, just a bit stiffer with more dynamic range. It has a strong open sound that sits in between Bunya and Blackwood. It works well with Blackwood or Honduran Mahogany back and sides.
Air Dry Density 495
Modulus of Elasticity 11
Janka Hardness2.8
Good amplified and as a strummer.
OK for percussive work

Huon Pine: Lagarostrobos franklinii

This is a fine sounding top timber from Tasmania where it is highly protected. Our timber was recovered from a lake which was flooded in 1972. It is a very oily timber impervious to water. Huon is one of the oldest living trees on the planet. The faces we are working from are estimated to be 3000 to 3500 years old. As the centre of the tree rots out it is hard to determine the exact age.
Source: Melukerdee Country (Huon Valley Tasmania)
Air Dry Density 520
Modulus of elasticity 9.23
Janka Hardness 4.1
Good for strumming and a good amplified sound
Not for Percussive work

Cedar Of Lebanon: Cedrus Iibani

This is true Cedar and is a native tree of Lebanon. It is a very historic timber with many mentions in the Old Testament. Solomon’s Temple was made from Cedar of Lebanon. There were also artefacts found in Pyramids made of it. The “Jesus Boat” was made from Cedar of Lebanon. This was a boat recovered from the Sea of Galilee from the 1st Century CE. Our Cedar of Lebanon was planted in Western Victoria, Australia 100 to 150 years ago. It is a highly scented timber but most importantly, it sounds really great with a full resonant sound. It takes around 10 years to process so it is not always available.
Source: Dja Dja Wurrung Country (Scrub Hill, Victoria)
Air Dry Density 520
Modulus of Elasticity 10.1
Janka Hardness 3.6
Good all round top, not for percussive work.

Camphor Laurel: Cinnamomum camphora

This is a spectacular timber with a fantastic smell. We love the sound on our 3 Series, and really like it used on top, back and sides. It is a full sounding timber across all frequencies and amplifies well. The mids and highs are particularly good. This is a show piece. It originates from Japan and China. We get it from Queensland where it is an invasive species, so it needs to be removed.
Source: Gubi Gubi, Waka Waka and Badtsala Countries (Southeast Queensland)
Air Dry Density 520
Modulus of Elasticity 11.56
Janka Hardness 4.4

Honduran Mahogany: Swietenia macrophylla

A classic guitar Tonewood. It is listed as Endangered in its native lands, but we get ours from a plantation in Fiji, where it is not native, and is sustainable. Without the low-end rumble of Rosewood, it is strong and even through the rest of the frequencies. As a top timber with Mahogany back and sides, it is not as big and open as using a softer timber on the top, but it is a very interesting sound much sought after. It amplifies very well.
Source: Gubi Gubi, Waka Waka and Badtsala Countries (Southeast Queensland)
Air Dry Density 590

European Maple or Sycamore Maple: Acer Pseudoplantanus

This is a sustainable timber that originates from Europe and is an invasive species in the hills around Melbourne close to the factory. It also happens to be an excellent Tonewood. It has been used for violin making in Europe for centuries. The 18th century, the Italian violin makers used this species extensively. It has a lower density than US Rock Maple which tends to lack low-mids and low frequencies. It has a big balanced sound with good highs, mids and lows. It is a spectacular top timber when spalted. It is a big full sound and great amplified.
Source: Wurundjeri Country (Melbourne Victoria), Gubi Gubi, Waka Waka and Badtsala Countries (South East Queensland)
Air Dry Density 615
Modulus of Elasticity 9.92
Janka Hardness 4.68

Australian Blackwood: Acacia melanoxylon

This is the stiffest timber we make tops out of. It has a character all of its own, quite like Koa as it is a very close cousin. It is dark or light brown and grainy but can vary. It is native to Australia and sourced from Tasmania, Victoria or Queensland. Blackwood is responsible for about 50% of our sales in top timbers. It is regarded as our best sounding amplified top timber.
Source: Gadubanud Country (Ottway Ranges Victoria), Pyemmairrener Country (North East Tasmania)
Air Dry Density 640
Modulus of Elasticity 13
Janka Hardness 5.9
An acoustic sound in the tradition of an American all Koa guitar
For a medium to hard player amplified
Best top for a percussive player
Handles climate extremes better than the softer timbers. This is a sustainable timber.

Back & Side Timbers

Below are listed our back and side options from least to most bass response. Lots of bass is not always best as too much bass can be muddy when amplified. We would advise more neutral timbers when amplifying. Small body guitars can benefit from the extra bass from Rosewood, but it can be woolly and lack definition on larger body guitars both plugged and unplugged.

Camphor Laurel :Cinnamomum camphora

This is a spectacular timber with a fantastic smell. We love the sound on our 3 Series, and really like it used on top, back and sides as well as a back and side timber. It is a full sounding timber across all frequencies and amplifies well. The mids and highs are particularly good. This is a show piece. It originates from Japan and China. We get it from Queensland where it is an invasive species, so it needs to be removed. As a back and side timber only, we recommend a softer top like Californian Bigtree Redwood or Western Red Cedar.
Source: Gubi Gubi, Waka Waka and Badtsala Countries (Southeast Queensland)
Air Dry Density 520
Modulus of Elasticity 11.56
Janka Hardness 4.4
Not for percussive use

Queensland Maple: Flindersia brayleyana

This is an Australian native sustainable timber sourced from Queensland and is our second biggest seller. It is no relation and has no similar sound characteristics to US Maple. It’s a neutral sounding timber like South American Mahogany with a touch more snap.
Source: Djirbalngan, Mbabaram and Yidinjdji Countries (Far North Queensland)
Air Dry Density 580
Modulus of Elasticity 10
Janka Hardness 4.7
Good for amplifying. This is a sustainable timber.

Honduran Mahogany :Swietenia macrophylla

listed as Endangered and is protected in its native lands, but we get ours from a plantation in Fiji, where it is not native, and is sustainable. Without the low-end rumble of Rosewood, it is strong and even through the rest of the frequencies. When used for back and sides only, with a softer top it is a big open balanced sound across all frequencies. It amplifies very well.
Air Dry Density 590
Modulus of Elasticity 10.06
Janka Hardness 3.6

Southern Silky Oak: Grevillea Robusta.

This is a sustainable timber native to Australia. It is a very well balance timber, beautiful to look at with delicate rays. Quite a rounded sound. It can be used for back and sides or top back and sides. The closest sound would be Honduras Mahogany.
Source: Wurundjeri Country (Melbourne Victoria), Gubi Gubi, Waka Waka and Badtsala Countries (South East Queensland)
Air Dry Density 590
Modulus of Elasticity 7.93
Janka Hardness 3.930

European Maple or Sycamore Maple: Acer Pseudoplantanus

This is a sustainable timber that originates from Europe and is an invasive species in the hills around Melbourne close to the factory. It also happens to be an excellent Tonewood. It has been used for violin making in Europe for centuries. It has a lower density than US Rock Maple which tends to lack low-mids and low frequencies. It has a big balanced sound with good highs, mids and lows.
Source: Wurundjeri Country (Melbourne Victoria), Gubi Gubi, Waka Waka and Badtsala Countries (South East Queensland)
Air Dry Density 615
Modulus of Elasticity 9.92
Janka Hardness 4.68

Australian Blackwood: Acacia melanoxylon

This is our number one selling back and side timber. This is an Australian native timber sourced from Tasmania, Victoria or Queensland and is sustainable. It is a beautiful timber to look at with a very similar tonal characteristic to Koa as it is a very close cousin. It has a very punchy mid-range and is the best timber for percussive playing. If you are after a pro touring guitar which will stand up to the rigors of the road, this is the guitar for you.
Source: Gadubanud Country (Ottway Ranges Victoria), Pyemmairrener Country (North East Tasmania)
Air Dry Density 640
Modulus of Elasticity 13
Janka Hardness 5.9
Good low mid’s
Good mid-range punch, high frequency definition and good for amplifying.
Signature Cole Clark acoustic sound. Sustainable.

Indian Rosewood: Dalbergia latifolia

If you want lots of bass then this is the timber for you. It comes from India and is the staple of most guitar makers in the world today for backs and sides. This species has now been listed by CITES but sustainable stock is now exempt, just for instrument making.
Air Dry Density 600
Modulus of Elasticity 12
Janka Hardness 12
Good low frequency. Can be boomy amplified depending on size of guitar and type of fretboard.
For a more traditional acoustic American sound but with the Cole Clark neck through character

Finger Boards

Below are listed finger boards from softest to hardest. The harder the finger board the less bass you have and the more top end you get. Fingerboards have a very big effect on the sound of an acoustic guitar.

Rosewood: Dalbergia latifolia

From India, the “biggest” sounding fingerboard with balanced lows, mid’s and highs. This species has been listed by CITES but sustainable stock is now exempt, just for instrument making.
Air Dry Density 850
Modulus of Elasticity 12
Janka Hardness 12

River She Oak : Casuarina Cunninghamiana

This is a terrific fingerboard timber which sits in between Rosewood and Ebony in it’s sound characteristics. It is from Queensland in Australia and is sustainable. As of 2018, this has become our main fretboard timber.
Source: Gubi Gubi, Waka Waka and Badtsala Countries (Southeast Queensland)
Air Dry Density 770
Modulus of Elasticity 12
Janka Hardness 9.73

Ebony: Diospyros ebenum

From India, the sound has less bottoms and mid’s than Rosewood and more tops when used as a fingerboard. A large body guitar with Rosewood back and side’s benefits from Ebony as it adds some top end clarity and takes just the right amount of bottom end out to balance the sound. Used on a smaller guitar can result in a toppy sound with not as much bass as it could have. Ebony is an endangered timber species.
Air Dry Density 915
Modulus of Elasticity 14.07
Janka Hardness 10.7

Satin Box: Nematolepsis Squamea

As a fingerboard is a favourite at Cole Clark. It has a nice top end without the scoop you get from Rosewood and without the bass drop off you get from Ebony. It is white in colour. There is no data on Satin Box as it is a large shrub, not really big enough for building purposes but great for fingerboards. From our tests, the data sits between Rosewood and Ebony.
Source: Gadubanud Country (Ottway Ranges Victoria)

Reference: Wood In Australia – Keith Bootle – Second Edition and The Wood Database