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Selecting the right song for your voice might seem instinctual to many singer-songwriters, but what about the right guitar? Acoustic Guitar Specialist Karl Neurauter demonstrates how different tonewoods and body shapes frame your voice, using a Gibson J-45 Vintage Red Spruce/Mahogany, Collings 002H Traditional 12-Fret Sitka Spruce/Indian Rosewood, Santa Cruz Custom Dreadnought Adirondack Spruce/Cocobolo, Taylor K14ce Builder’s Edition Sitka Spruce/Koa, and “Speed of the Sound of Loneliness, ” a track from songwriting master John Prine’s 1986 album, German Afternoons.
The J-45, a classic slope-shoulder dreadnought, has been Gibson’s central acoustic workhorse for over seven decades. This particular Custom Shop model replicates vintage “Banner” J-45s, highly sought-after collectibles known for their unique design and careful construction, and has a baked Adirondack spruce top, mahogany back, and mahogany sides for full, balanced tone and rich low end.
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Constructed with a Sitka spruce top and rosewood back and sides, this 12-fret Collings 002H parlor-style guitar has a smaller body shape and tighter waist bout, qualities generally thought to pair best with solo fingerpickers, not singers. Karl disagrees.
Santa Cruz designed this pre-war dreadnought to accentuate the midrange and treble, without altering the dreadnought’s natural bass response. A tall order, but because it’s Santa Cruz, it works, and the Adirondack spruce top and cocobolo back and sides sing with remarkable, yet undisruptive, clarity.
Taylor’s V-Class bracing boosts the volume across the entire tonal spectrum in this Grand Auditorium, constructed with an Adirondack spruce top and koa back and sides. But like most Taylors, each note of the K14ce’s bright, brilliant tone blends in perfect accompaniment, just as intended.
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Chicago Synth Exchange is proud to add Groove Synthesis to our lineup of brands with the addition of the 3rd Wave advanced wavetable synth to our growing selection of keyboard...
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Designed with the vibrant musical, artistic, and architectural backdrop of San Diego’s North County in mind—think surfing, skateboards, and classic cars—the new Powers Electric A-Type model blends these influences and...No matter how good your lyrics, you’re going to need a good guitar as your songwriting partner to get the melody down.
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While some songwriters focus on lyrics and bring in a partner who specializes in creating music, you can actually do it all yourself if you want.
Of course, you’ll need to learn how to play guitar if you don’t already know how, but honestly you can get by with just a few basic chords.
When you’re writing the music for your own songs, you need an instrument that really lets you bang it out the way that you hear it in your head.
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Plenty of singer-songwriter types have used the humble guitar for this very purpose for years and we tend to agree with them.
Below, we’ll share some of our editor favorites when it comes to the best acoustic models for strumming along as you write your songs.
While pretty much any model will get the job done, there are a few tried and true things for you to consider before picking up the first six string that catches your eye.
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You need to be able to sit or stand with it – and you probably need to be able to lean over toward your notebook and jot down some lyrics while it is sitting your lap.
Sure, that dreadnought is a beauty and the sound is amazing, but it’s also large – too large to be comfortable for your songwriting needs.
Those small body guitars aren’t just for people with small hands! There’s a reason that singer-songwriters like Ed Sheeran prefer those smaller models, and you should too.
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The style of music that you’re writing also plays a small part in which guitar you should choose for your songwriting sessions.
If you’re not sure, then you could get a steel string and a nylon string model so that you can switch back and forth between the two.
If you play any gigs, like songwriter open mic nights, then you might want to go with a model that you can use on the stage.
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It might not seem like a big deal, but the wood combo used to make the guitar should also be considered – especially if you are primarily a vocalist.
If you tend to have a somewhat quiet singing voice, then you’ll wanna skip the rosewood models because your voice will get lost in the heavier overtones.
To give you a good idea of the differences between the various wood combinations, check out the video below which shows you the same model in three different wood variations.
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Now that we’ve given you tips on find the best model to meet your songwriting needs, it’s up to you to get yourself one and starting banging out new music.What makes a great acoustic guitar for singers? While playability, volume, and responsiveness are important, it’s mostly how the vocals sit relative to the dominant frequencies of the guitar that are most important in terms of balance and separation as this prevents the natural tone of the guitar from overpowering the vocals.
Guitars with scooped mids are best for the majority of singers as the vocals usually span the lower mid to upper mid-range (100Hz and 8kHz). A guitar with less presence in the mid-range allows room for the vocals without being overshadowed by the sound of the guitar.
But, keep in mind acoustic guitars and how they are played e.g. fingerstyle, flat-picking, along with the vocalist’s delivery and vocal range, and the subjective nature of music in general mean there’s really no exact science to matching guitars to vocalists.
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The sole purpose of this article is merely to provide a good starting point if you are a singer contemplating a new acoustic guitar.
Unless you are playing instrumental music, vocals are generally the most critical component when playing accompanied. In simple terms, we are conditioned to hear the subtleties and nuances of the human voice, and we know when something doesn’t sound right.
The human voice is most prominent in the mid-range of our perceived frequency range e.g. the limits of what we can hear, which is between 20Hz and 20kHz.
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Frequencies (Hz) are a measure of vibrations per second e.g. 1 Hz = 1 sound wave passing a fixed point per second) which defines pitch (you can read my guide to how digital music works here which covers a lot of this information).
The fundamental is the dominant frequency in terms of the accuracy of pitch, and also the lowest. While overtones are responsible for articulation and timbre (the character of the sound e.g. what makes one instrument sound different from another).
For males the fundamental is between 100Hz – 300Hz, for females it’s more likely to be between 200 – 400Hz. But, when taking into account vowel and consonant sounds (articulation) the frequency range of the human voice is usually found between 100 Hz and 8 kHz with more of an emphasis on the fundamental.
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A guitar with a dominant mid-range is often referred to as ‘nasally’. A scooped midrange, on the other hand, refers to the mid-range frequencies being attenuated e.g. reduced. This is simple enough to do with EQ, and is often referred to as the smile curve when dialed in on an equalizer.
But when considering an acoustic guitar, factors that affect the frequency response of the guitar including tonewoods and body shape have the most influence.
I know people who talk about wood like they are talking about EQ e.g. they look at particular tonewoods like an engineer might assess an equalizer.
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How wood affects the tone of a guitar is largely based on the properties of the wood e.g. its lightness and ability to vibrate, its hardness, and density.
For example mahogany, a softer hardwood is known to accentuate mid-range frequencies and produce fewer overtones than other tonewoods such as spruce or cedar.
And, while mahogany is credited for contributing to a warm-sounding guitar with a strong fundamental, it’s not always an ideal tonewood for the singer/songwriter as there is typically less separation between the guitar and vocal.
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I can attest to this, being the owner of an all-mahogany acoustic guitar. However, the strong fundamental does help with pitching and this may be just as important to you.
Again it mostly comes down to how the balance of vocals and guitar sounds to you and how it suits your vocal delivery and the unique characteristics of your voice.
As a result, it provides additional space for the vocals in the mid-range, and when paired with mahogany provides a balanced sound. When paired with rosewood the lower frequencies, in many cases are emphasized further, giving even more of a mid-range scoop in comparison.
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It’s no surprise a huge number of acoustic guitar players/songwriters such as John Mayer, Paul Simon, Bob Dylan, McCartney and Lennon, Joni Mitchell,
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