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The influence of Korean pine panel on the sound of guitar

The author:new-goldsione    Release time:November 21, 2018

Since the introduction of the Canadian Korean pine (thujaplicata) into guitar production, the choice of guitarists has become hesitant. Until then, the status of white pine (spruce below) has been unchallenged as the status of panel selection. This is mainly a matter of personal taste. There is no doubt that two kinds of wood are very suitable for panels. Baisong has been used to make guitars and violins for centuries. I don’t see any acoustic flaws. It is closely related to the history of guitar development. It can convey a wide range of dynamic audio range (capacious of moudulation), which means that when a sound is pronounced, the performer does not need any control and intervention. It can achieve a natural range of audio changes. If this performance is good, the performer can easily make it in the performance. More timbre or musical expression changes, but if too much, it will result in runaway consequences. Moderator note) From the hands of a master, it can produce a soprano with a singing voice.
Pinus koraiensis has an overwhelming response and a sense of balance. Some of the larger guitars with Korean pine panels, although overtones are very bright, sound a little bass overemphasized and lack personality, which may be due to the low frequency range of the intermediate frequency (production problems). It is worth mentioning that the reflex characteristics of (very good) Korean pine guitars, the louder they are played in a larger room (of course, there is a certain range, moderator notes), generally speaking, the listener will be impressed by the average volume in the room. And the sound produced by white pine is more like the direct emission from the instrument itself.
Guitar performers’preferences for these two kinds of wood are mostly due to two reasons: the first is the habitual reason. If they change from Korean pine guitar to white pine guitar, the performers will have to make some efforts to adapt to it, and vice versa. Another reason is the musicians’perception of music: to exaggerate, some guitarists focus first on the condition of each single tone, while others pay more attention to the deep musical structure. The latter (music oriented) may prefer the Korean pine guitar with better overall balance. For the former, it may be boring. Such guitarists may prefer the infinite richness of the excellent white pine guitar. For some other performers, these white pine guitars may seem difficult to play. Of course, this is just a rough description and does not apply to any guitarist today.

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