Acoustic Advice: Tonewood Strategies & More

Andy Powers' Lessons in TonewoodsThe new DIT episode kicks off as Rhett and Zach celebrate Zach’s close encounter with special effects mogul Adam Savage, of Star Wars, Ghostbusters, Matrix, and Tested fame. (Nerd alert: Zach and his wife have Ghostbusters uniforms—which they wore that day. There’s a photo.) Rhett talks about the first single from his latest band, Good Trouble, who now have a YouTube channel. The dynamic duo also gives a seasonal warning about guitar maintenance. And then it’s time for the main event: Andy Powers, CEO and chief guitar designer of Taylor Guitars.What Matters More in an Acoustic Guitar—Design or Tonewoods?Skillful guitar design reflects not only an appreciation for quality materials, but a nuanced understanding of how they behave.Why Guitar Builders Blend TonewoodsHow rigid and flexible woods are mated to create the magic of acoustic guitars.Last Call: The Fawn & the BearPlaying acoustic guitar is an entirely different experience than playing electric. For that matter, playing an acoustic that’s plugged in is entirely different from playing an acoustic acoustically. Try your normal electric go-to stuff on an acoustic and you’ll probably be disappointed with the results. Plug an acoustic with a pickup straight into a DI or board, and it’s not going to respond or sound like an acoustic in your living room.A Cowboy Guitar and a Forgotten CowgirlIf you were interested in playing guitar in the 1930s and 1940s, you were probably a fan of singing cowboys. The old Western teleplays on the radio were vehicles for marketing all kinds of products, like toys, costumes, and, of course, guitars!Dave Matthews: Acoustic Guitar NinjaDave Matthews’ songwriting encompasses a vast array of styles, but along with his voice and an eclectic cast of musicians (namely the Dave Matthews Band), what most defines his sound is his singular guitar style. When I first became aware of DMB, I assumed Matthews’ playing would be along the lines of other singer/songwriter projects of the era—mainly open-position and barre chords, some fingerpicking, and possibly a few alternate tunings. But I would soon discover just how wrong I was.