Backs

Approximated backs dimensions for classic guitar: (550x200x4mm) x2

Classic guitar backs are those pieces that when we join them together, we are closing the sounding board of the instrument. The back of the guitar serves two major functions: reflect and diffuse the sound that top guitar produces. That’s why, the election of the back will affect mostly the timbre of the instrument.

Backs are composed by the same wood than sides in order to create a symmetric and harmonic instrument.

Generally, we tend to undervalue this part of the guitar and its influence in the sound of the instrument. But it is shown that backs are more important than we think and that they influence in the sound in a 20%.

In Maderas Barber, we offer a huge variety of backs in different woods because it is known that each one affects to the sound in a different way. In addition, the appearance of the wood is something very appreciated in classic guitar backs, since they could have figures, flames or curly figures which give an exotic and unique touch to a classic guitar.

Discover the huge range of classic guitar backs that we have in Ebony, Mahogany, Indian Rosewood, Ziricote, Cocobolo and many more, always related to sides in order to create a complete experience.

Backs 

Subcategories

  • Finished Backs

    With the aim of making your work easier and faster, we offer you finished backs for classic guitar, always with the best quality and woods of Maderas Barber.

    In this section, you have selected the most used woods in classic and flamenco guitars as Indian Rosewood, Cocobolo or Cypress. Enjoy of these stunning backs ready to be used.

  • Acacia

    The Acacia also known as "Blackwood" despite its name has no black appearance, nor too dark. This wood tone is very similar to the Koa one, which is an opened and woody tone that is between Mahogany and Rosewood. Its sound tends to have some high nuances, which gives it a dry sound.

    This wood is a perfect choice considering its price and the good results that are obtained from it. Do not miss the opportunity to make your new Backs for Classic Guitar with this beautiful wood.

     

    BOTANICAL NAME: Acacia Melanoxylon

    COMMERCIAL NAMES: Australian Blackwood

    ORIGIN: Africa, South America and Asia

    DESCRIPTION: It has a density of 640 kg/m3. The heartwood is golden brown and it acquires a darker glow upon completion. It can have black grains and also small color variations. The grain is usually straight or slightly intertwined.

    SUGGESTIONS: You can easily work with hand and mechanical tools, although the carved wood and the pieces with interwined grain can cause some breakage. The Acacia twists but it can be glued and it ends well. It responds well to steam flexion.

    DRYING: Drying does not present difficulties. It has a fast-drying speed. It presents slight risks of deformations and cracks.

    USES: Soundboards for musical instruments, interior carpentry, woodwork.

  • Exotic Maple

    Exotic Maple shares all its qualities with European Maple, but the difference is just its grain, since the wood of Exotic Maple creates sinuous drawings that look like knots. Regarding to the sound, this wood is equal than Curly Maple.

    Although the difficulties that Exotic Maple has to work with due to its strong grain, the end result will be worth it. And more if we take into account that this wood is unusual.

    Discover the high quality and the particular beauty of exotic maple for classic guitar in Maderas Barber.

    BOTANIC NAME: Acer pseudoplatanus.

    COMMON NAMES: Curly maple, Flamed maple.

    ORIGIN: Center and East Europe

    DESCRIPTION:   Density 610-680 kg/m3.  White or light yellow wood colour. There is no distinction between the sapwood and the heartwood. Grain is generally straight, but may be wavy. Exotic pattern is very much appreciated.

    RECOMMENDATIONS: Machinery can be difficult.  Suitable for steam bending.  Easy gluing and finishing.  Resistant to fungi but susceptible to termites. Stains easily. It is recommended not to store it in humid places.

    DRYING: We recommend drying it at low temperatures to avoid spots and colour alterations. If drying process is fast wood will keep white colour.

    USES:  Electric Bass and  Electric Guitar. Classic and Acoustic Guitar. Violin , Viola, Cello and Double Bass.

  • Birdseye Maple

    The amazing appearance of Birdseye Maple appears due to a supposed defect or illness of the tree. Its surface is covered by a sort of rounded shapes very pleasing which are very similar to eyes, what make this wood an exotic one.

    Physically, this wood is dense and stiff, while acoustically, provides of a brilliant sound. For all these reasons, Birdseye Maple Backs are pieces very demanded and treasured by luthiers.

    BOTANIC NAME: Acer saccharum marsh.

    COMMON NAMES:  Birdseye maple.

    ORIGIN: North America.

    DESCRIPTION:   Density 630-700 kg/m3.  Cream white to reddish brown colour. Figured with many small swirls resulting in circular eyes separate from each other - dubbed birds eye figure. It is not known what causes de phenomenon. The wood may be extremely valuable.

    RECOMMENDATIONS: Sawing and machinery are difficult. It is hard to plane. Suitable for steam bending.  Easy gluing and finishing. 

    DRYING: It is a wood that dries very fast. Hardly any defects on the drying process.

    USES:  Electric guitar bodies and bass guitar bodies. Guitar backs and sides.

  • Curly Maple

    When we talk about Curly Maple, we are talking about one of the most recognized woods and used in the manufacture of musical instruments. A wood which has been very special along the history.

    Curly Maple offers brilliant reflects which inspires guitar players worldwide, apart from a pure and clean sound. On the other hand, luthiers are passionate about this wood thanks to its ease to work with.

    In this case, the lack of uniformity isn’t a default, since the beauty of this wood is these flame or curly figures, which are very demanded in musical instruments. In Maderas Barber we offer you this wood in different qualities for Classic Guitar, according to Luthier needs and likes.

    BOTANIC NAME: Acer pseudoplatanus.

    COMMON NAMES: Curly maple, Flamed maple.

    ORIGIN: Center and East Europe

    DESCRIPTION:   Density 610-680 kg/m3.  White or light yellow wood colour. There is no distinction between the sapwood and the heartwood. The growth of the wood fibres is distorted in an undulating pattern producing wavy lines know as flames. Beautiful appearance.

    RECOMMENDATIONS: Machinery can be difficult.  Suitable for steam bending.  Easy gluing and finishing.  Resistant to fungi but susceptible to termites. Stains easily. It is recommended not to store it in humid places.

    DRYING: We recommend drying it at low temperatures to avoid spots and colour alterations. If drying process is fast wood will keep white colour.

    USES:  Electric Bass and  Electric Guitar. Classic and Acoustic Guitar. Violin , Viola, Cello and Double Bass.

  • Spalted Maple

    BOTANIC NAME: Acer saccharum Marsh.

    COMMON NAMES: Spalted maple

    ORIGIN: North America

    DESCRIPTION:   Density 630-700 kg/m3.  Grain pattern typically straight. Pale colour with dark veins. Spalting is created by fungal invasion of wood. It is literally rotting, this causes some areas of the wood to bleach to a champagne colour while other areas retain the original colour of the wood. Certain fungi can even produce stained areas of blue, pink and other colours. The most fascinating creations of the fungi are dark lines, usually black, that look like free-form art drawn with a calligraphy pen or figures in fine marble.

    RECOMMENDATIONS: Cutting, machinery and sanding can be difficult.  Suitable for steam bending.  Easy gluing and finishing. 

    DRYING: Drying process is easy. Risk of cracks.

    USES:  Electric Bass guitar body tops and Electric Guitar body tops.

  • Bloodwood

    Bloodwood is the wood with the densest red tone in the world. A tone which increases when it rusts, not like Padouk. However, luthiers not only appreciate this wood for its red tone, they also value other qualities as its great sound and its tight grain.

    Although being so demanded, there are not always the same availability of this wood, due to forest regulation and the lack of plantations. Nevertheless, we usually have Bloodwood backs in our stock for your classic guitar: an exotic and quality wood.

    BOTANIC NAME: Brosimum rubescens

    COMMON NAMES : Bloodwood

    ORIGIN:  Tropical South America.

    DESCRIPTION:   Density 1050 Kg/m3.  Heartwood is bright, deep red colour. Sapwood has a pale yellowish colour.  Colour can darken to a darker brownish red over time with exposure to light. Straight grain pattern, occasionally interlocking. Fine texture and good natural luster.

    RECOMMENDATIONS: Bloodwood is extremely dense, and has a pronounced blunting effect on cutters. The wood tends to be brittle and can splinter easily while being worked.

    The wood’s dust has been reported as occasionally causing effects such as thirst and salivation, as well as nausea.

    DRYING: Drying process is slow and must be done carefully.

    USES:  Guitar  backs and sides.

  • Bocote

    Bocote is a very demanded wood thanks to is great sonority and its particular beauty. Bocote has a brown color with parallel dark lines making some figures. In addition, this wood has a warm and powerful tone, with a great sustain and stability.

    This wood has a high density, which makes Bocote a good option to reflect the sound of the instrument: the best attribute that a back of classic guitar could have.

    Check our Bocote backs for classic guitar in Maderas Barber.

    BOTANIC NAME: Cordia eleagnoides

    COMMON NAMES : Bocote, Bucote, Cordia, Barcino, Cueramo

    ORIGIN:  Mexico

    DESCRIPTION: Density 950-1200 Kg/m3.  Has a yellowish-brown body with dramatic dark brown to almost black stripes. Colour tends to darken with age. The grain patterning can be quite striking, particularly on flatsawn areas. It’s not uncommon to see many “eyes” and other figuring in Bocote.  It is heavy and resistant.

    RECOMMENDATIONS: Bocote is easily worked and machined with good results.  Bocote also turns and finishes well. knots do not seem to present any special challenges in machining.

    DRYING: Drying process is slow and must be done carefully.

    USES:  Guitar  backs and sides, headplates, fingerboards and bridges.

  • Brazilian Lacewood

    Brazilian Lacewood is a very special wood, both acoustically and visually. Its grain captures all our attention, while it evokes the skin of some reptiles. About the sound, this wood has brilliant and clear tones.

    Brazilian Lacewood has some difficulties to be manipulated and to work it with, but if you do it well, Brazilian Lacewood backs for Classic guitar of Maderas Barber will make you fall in love with them.

    BOTANIC NAME: Roupala brasiliensis, Roupala Montana.

    COMMON NAMES : : Brazilian Lacewood, Louro Faia, Leopardwood, Brazilian Silky Oak.

    ORIGIN:  Tropical South America.

    DESCRIPTION:   Density 885 Kg/m3.  Has a very conspicuous flecking that gives this wood its namesake. It has a reddish brown with grey or light brown rays, which result in a lace pattern when quarter sawn.  The grain is usually straight. Fine to medium texture.

    RECOMMENDATIONS: Easy wood to work with. Easy gluing and finishing.

    DRYING: Drying process is slow and must be done carefully.

    USES:  Laminated  guitar backs and sides. “Cajon flamenco”.

  • Bubinga

    Bubinga is, with any doubt, a highly appreciated wood due to its proprieties. Bubinga is even harder than Rosewoods, but with a finer texture. However, we have to manipulate it carefully, because of its hardness and its grain.

    On the other side, this African wood has a complete and rich sound, with warm and uniform tones. In addition, we have to take into account its great value for money, what makes Bubinga a very good option for our classic guitar backs.

    BOTANIC NAME: Guibourtia spp.

    COMMON NAMES : Bubinga

    ORIGIN:  Gabon

    DESCRIPTION:   Density 700-910 Kg/m3.  Heartwood ranges from a pinkish red to a darker reddish brown with darker purple or black streaks. Sapwood is a pale straw colour and is clearly demarcated from the heartwood. Grain is straight to interlocked. Has a uniform fine to medium texture.

    RECOMMENDATIONS: Easy wood to work with but can dull cutting edges. Turns and finishes well. Gluing can be problematic due to its high density and natural oils.

    DRYING: Drying process is slow and must be done carefully. Risk of deformation and cracks.

    USES:  Guitar backs and sides. Electric guitar body tops, electric bass body tops. Wind instruments.

  • Mahogany (CITES)

    Mahogany is one of the most used woods in the history of musical instruments, mostly due to its tonality, able to adapt to all guitar players desires.

    Physically, this wood is versatile and easy to work with. It behaves very well in any situation. In addition, we have to consider its good price and availability.

    For all this, Mahogany backs are one of the best options to build your guitar and having good results.

    BOTANIC NAME: Swietenia macrophylla.

    COMMON NAMES : Mahogany. American mahogany.

    ORIGIN: Brazil.

    DESCRIPTION:   Density 490-530Kg/m3.  Heartwood colour can vary from a pale pinkish brown, to a darker reddish brown. Colour tends to darken with age. Grain can be straight, interlocked, irregular or wavy. Texture is medium and uniform.

    RECOMMENDATIONS: It is easy to work with tools, machines well. Sands very easily. Turns, glues, stains and finishes well.  Can cause skin irritations.

    DRYING: Drying process is fast. Wood can become deformed or crack.

    USES:  Guitar backs and sides. Necks, Heels, Bindings. Electric guitar body and body tops, electric bass body and body tops.

  • Cypress

    Cypress wood is considered by luthiers as a light and soft wood, but also very resistant. Cypress also has a brilliant and percussive sound, qualities very demanded by flamenco artists. That’s why this wood is one of the most treasured ones in Flamenco Guitars, but also in Classic Guitars.

    We can’t neither forget that this tonewood is very ease to work with and to get finished, apart from its nice and pleasant smell.

    Cypress backs for Classic Guitar are what is needed to build those famous “white guitars”. This wood has also a good availability and as a good value for money as a result, what makes Cypress a wood very complete. Choose your Cypress backs for classic guitar between the wide range of qualities we have in Maderas Barber.

    BOTANIC NAME: Cupressus sempervirens.

    COMMON NAMES: Cypress, Mediterranean Cypress, Italian Cypress

    ORIGIN:  Eastern Mediterranean region.

    DESCRIPTION:   Density 400-600 Kg/m3. Heartwood is a pale yellowish or reddish brown. Narrow sapwood is paler and usually clearly demarcated from the heartwood. Grain is usually straight, though small knots are sometimes present, creating a more irregular grain pattern. Fine, uniform texture with a good natural luster. Cypress has a distinct, fragrant scent.

    RECOMMENDATIONS: Sawing is difficult because of the knots. Smooth machining. Glues, stains, and finishes well.

    DRYING: Drying process must be careful.

    USES:  Classic guitar backs and sides. Flamenco guitar backs and sides.

  • Victory Island Cypress

    Victory Island Cypress is probably one of the less known woods, but it is gaining ground with years. This wood stands out because of its clear tone and tis great sustain. It has also a good stability and presents very few possibilities of cracks or deformations. In short, Victory Island Cypress is a wood with very good acoustic proprieties for being used in tops.

    Victory Island Cypress Backs for Classic Guitar are a recommended option for its value for money and its acoustic abilities.

    BOTANIC NAME: Cupressus nootkaterisis

    COMMON NAMES: Victory Island Cypress, Yellow Cedar, American Cypress.

    ORIGIN: Canada.

    DESCRIPTION:   Density 430-530 Kg/m3. Heartwood is a light yellow. Sapwood is a similar whitish/pale yellow and isn’t distinct from the heartwood. colour tends to darken with age upon exposure to light. Grain is usually straight, sometimes wavy, with a uniform medium to fine texture.

    RECOMMENDATIONS: Easy to work with both hand and machine tools, though pieces with wavy grain may produce tear out during planning. Stains, glues, and finishes well. Dust can cause skin irritation

    DRYING: Easy drying chamber process.

    USES:  Guitar backs and sides.

  • South America Cypress

    South America Cypress shares some qualities with its brother, the Mediterranean Cypress. Both of them are light woods, soft and resistant at the same time. South America Cypress is mostly used in Flamenco guitars, but also in classic guitars, because it adds a brilliant and percussive sound to the instrument, very appreciated by flamenco artists.

    However, they have some differences. South America Cypress has a thicker color with more irregularities and it is less harmonic. But, it is also less expensive and more available than Mediterranean Cypress.

    In Maderas Barber we have South America Cypress backs for classic guitar in a very good price. A wood very easy to work with and with a perfect acoustic for this part of the instrument.

    BOTANIC NAME: Cupressus sempervirens.

    COMMON NAMES: Cypress, South American Cypress

    ORIGIN:  South America

    DESCRIPTION:   Density 400-600 Kg/m3. Heartwood is a pale yellowish or reddish brown. Narrow sapwood is paler and usually clearly demarcated from the heartwood. Grain is usually straight, though small knots are sometimes present, creating a more irregular grain pattern. Fine, medium texture . This Cypress is not as aromatic as the Mediterranean one.

    RECOMMENDATIONS: Sawing is difficult because of the knots. Smooth machining. Glues, stains, and finishes well.

    DRYING: Drying process must be careful.

    USES:  Guitar backs and sides.

  • Cocobolo (CITES)

    The famous Cocobolo is a tropical wood, very dense and hard, which adds a brilliant tone to the instrument. Regarding to the sound, this wood has a higher resonance in low or bass frequencies, and a quick and dynamic answer with a clear tone. That’s why this wood has become with the pass of time in one of the most treasured ones by luthiers.

    The amazing timber that this wood provides is due to its high density, something very desirable in classic guitar backs.

    About its appearance, this wood is comparable to Rosewoods. The difference is that Cocobolo is less available than Rosewoods.

    Discover the best tonewoods of the market thanks to this classic guitar Cocobolo backs that we offer in Maderas Barber, a wood very similar to Brazilian Rosewood in its sound.

    BOTANIC NAME: Dalbergia retusa.

    COMMON NAMES: Cocobolo, Granadilla, Cocobola.

    ORIGIN: Nicaragua.

    DESCRIPTION: Density 990-1250 Kg/m3. Cocobolo can have different colours, ranging from yellow, orange, red, and shades of brown with streaks of black or purple. Sapwood is typically a very pale yellow. Colours are lighter when freshly sanded/cut, and darken with age. Grain is straight to interlocked, with a fine even texture. Good natural luster.

    Notoriously allergenic.

    RECOMMENDATIONS:  Due to the high oil content found in this wood, it can occasionally cause problems with gluing. Also, the wood’s colour can bleed into surrounding wood when applying a finish, so care must be taken on the initial seal coats not to smear the wood’s colour/oils into surrounding areas. Tear out can occur during planning if interlocked grain is present; the wood also has a moderate blunting effect on cutting edges/tools due to its high density. Cocobolo has excellent turning properties.

    DRYING: Slow drying wood. Risk of deformation or cracks.

    USES:  Guitar backs and sides, fingerboards, bridges, headplates. Wind instruments.

  • Curupay

    Discover the exclusivity of this Curupay backs for classic guitar in Maderas Barber: a wood which will not disappoint you.

    • BOTANIC NAME: Anadenanthera colubrina 
    • COMMON NAMES: Cebil, Curupay.
    • ORIGIN:  South America
    • DENSITY: 1000kg/m3
    • DESCRIPTION: Heartwood is a pale to medium reddish brown, frequently with darker brown to black streaks throughout. Color tends to darken with age. Sapwood is a pale yellow to pinkish brown.
    • RECOMMENDATIONS: Rated as very durable. Resistant to termites, though more susceptible to other insect attacks. Generally hard to work with on account of its irregular grain and high density. Cebil also has a pronounced blunting effect on cutters. Turns well.
    • USES: Flooring, exterior construction, furniture, and turned objects.
  • Dorado
  • Amara Ebony

    Although it is not very renowned, Amara Ebony is an exotic wood with excellent physical and acoustic qualities. Its high density is perfect for the back of a classic guitar, and acoustically, an Amara Ebony back adds a low sound and high volume.

    In short, Amara Ebony has similar proprieties than African Ebony, but with a different appearance, because it is less homogenous than its African brother.

    In Maderas Barber we place at your disposal Amara Ebony backs for Classic Guitar of high quality. Just discover this exotic wood and its beautiful tones.

    BOTANIC NAME: Diospyros Celebica

    COMMON NAMES: Amara Ebony

    ORIGIN:  Asia.

    DESCRIPTION:   Density 1100-1300 Kg/m3. Sapwood colour goes from white to reddish brown. Heartwood is dark with different black colours with some bright stripes and green colour. Compare to the Makassar Ebony it is more opaque and less shinny.

    RECOMMENDATIONS: Tends to be difficult to work with due to its high density. Blunting effect on cutters. It is slightly easier to work with than the Makasssar Ebony.

    DRYING: Drying process must be slow to prevent cracks.  Wooden parts can become deformed.

    USES:  Guitar backs and sides.

  • Exotic African Ebony

    This wood is gaining fans day by day thanks to its great acoustic proprieties and the beautiful figures that we can find in its grain, what makes the difference with other tonewoods.

    This wood shares qualities with African Ebony, but the bigger difference is the appearance. Exotic Ebony shows a big contrast between black and white, creating stunning figures.

    About the sound, this wood provides brilliant and dynamic tones to our guitar. And its physical proprieties make this wood your best ally against friction and stains.

    Discover this fantastic Exotic Ebony backs for classic guitar in different qualities, one our best products in Maderas Barber.

    BOTANIC NAME: Diospyros crassiflora hiern.

    COMMON NAMES: Exotic African Ebony, Exotic Black Ebony.

    ORIGIN:  Central and Western Africa.

    DESCRIPTION:   Density 1030-1050 Kg/m3. Sapwood is light colour and hardwood is jet-black. We can find on this specie a wide variety of colours.  Grain is usually straight but can also be interlocked. Fine even texture with very high natural luster.

    RECOMMENDATIONS: Easy sawing but can be difficult to work. Has a dulling effect on cutters. Tear out may occur on pieces that have interlocked or irregular grain. It can crack easily under changes in temperature or because of humidity. Machining and gluing can be complicated due to its high density. Finishes well. Can cause skin problems.

    DRYING: Drying process speed can vary from normal to low speed. Tendency to split.

    USES:  Musical instruments fingerboards. Wind instruments.

  • Macassar Ebony

    Macassar Ebony is one of the most used woods in order to make marquetry and cabinetmaking during years. But luthiers have also discovered its great sound qualities, so they are also using this wood in musical instruments.

    The mix of its parallel dark lines with the brown and black of this wood gives and exotic touch to classic guitars. However, we can’t forget that acoustically, it’s very similar to African Ebony.

    Classic guitar backs made of Macassar Ebony are a great option for your instrument: hardness, good sound and beauty in the same piece.

    BOTANIC NAME: Diospyros Celebica

    COMMON NAMES: Macassar Ebony , Striped Ebony

    ORIGIN:  Asia.

    DESCRIPTION:   Density 1000-1300 Kg/m3 .Heartwood has a striped appearance, somewhat similar to Zebrawood. Yellow to reddish brown body with darker brown or black stripes. Sharply demarcated sapwood is pale gold colour. Grain is usually straight, but can sometimes be interlocked; fine uniform texture and good natural luster. 

    RECOMMENDATIONS: Tends to be rather difficult to work, due to its high density, blunting effect on cutters, and its occasionally interlocked grain. Humidity must be controlled during storage. Machining must be sharp.

    DRYING: Drying process is slow.  Wooden parts can crack or become deformed after drying.

    USES:  Guitar backs and sides and also fingerboards.

  • Green Ebony

    As other Ebony species, Green Ebony has a high density, a perfect quality to reflect the sound in the sounding board like a few tonewoods can do.

    Another remarkable characteristic is its olive-green color, what makes Green Ebony a very special wood that luthiers usually demand to make different instruments.

    Meet Green Ebony backs for classic guitar in Maderas Barber, a stunning wood that won’t let you down.

    BOTANIC NAME: Diospyros Durionoides

    COMMON NAMES: Green Ebony

    ORIGIN:  Central America.

    DESCRIPTION:   Density 1000-1300 Kg/m3 . Sapwood is white and heartwood is black/brown with stripes in different tones but mainly green olive colour.

    RECOMMENDATIONS: Store it at right temperature to prevent cracks. Can cause skin problems.

    DRYING: An uncommon characteristic of the green ebony , if it cracks before drying process it is possible that after drying the crack seals disappearing without a trace.

    USES:  Guitar backs and sides and also fingerboards, bridges and headplates.

  • Curly Eucalyptus

    Although Curly Eucalyptus is not a very common wood to build musical instruments, it has some qualities that make this wood very worthy to work with it.

    This wood has a great mechanic resistance, hardness and elasticity, apart from a stunning grain. However, we can’t forget that Curly Eucalyptus needs to be manipulated carefully, because it is a wood very difficult to dry and which has some tendency to get deformed.

    If they are well treated, Curly Eucalyptus backs from Maderas Barber are a great option for classic guitars.

    BOTANIC NAME: Eucalyptus Globulus.

    COMMON NAMES: White Eucalyptus

    ORIGIN:  Tasmania.

    DESCRIPTION:   Density 748-830 Kg/m3  Sapwood is pale grey/white, and heartwood is reddish brown or brown yellow light. Grain is interlocked with a medium texture. Low natural luster.

    RECOMMENDATIONS: Store it at right temperature. Boards with interlocked grain frequently causes tear out during planning and other surfacing operations. Glues and finishes well.

    DRYING: Many internal stresses and  drying difficulties. Wood tends to deform.

    USES:  Guitar backs and sides . Laminate floor , railway sleepers.

  • Black Limba

    Black Limba Backs for Classical Guitar, unique and exotic pieces that will delight the luthiers and guitarists.

    The Limba is a medium density wood and its appearance is yellowish brown pale with scattered black lines. With regard to sound, it is very similar to Mahogany but its color is lighter, so it offers more possibilities in translucent finishes.

    Anecdotally, it was the wood used by Gibson to build the first guitars Flying V and Explorer in 1957.

    Make your instrument something unique with Black Limba Backs for Classical Guitar.

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    BOTANICAL NAME: Terminalia superba.

    TRADE NAMES: Korina, Afara.

    ORIGIN: Central and West Africa.

    DESCRIPTION: Density of 550/600 kg/m3. The wood color is white slightly pearly cream, which darkens when exposed to light. You may have yellowish areas with blackish streaks. Growth rings are often visible. The fiber can be straight or slightly interlaced. The grain is medium.

    RECOMMENDATIONS: It is sensitive to fungi and termites.

    DRYING: The drying rate may vary from fast to normal. It hardly presents risks.

    USES: Besides being used in Backs and Sides for Classic and Acoustic Guitars, it is also used in Necks and Bodies for Electric Guitars.

  • Ash

    Our Ash is that known as Swamp Ash. This species has some different peculiarities from the other versions of Ash. This one grows in marshy areas of the US, and therefore, it has a different growth. This difference also has an impact on its use for the manufacture of instruments.

    Swamp Ash is less rigid and stable. However, it is a wood much lighter and with better sound properties. This variety has a warmer sound, better sound resonance and brighter tones.

    As a result, Swamp Ash is used especially in guitar bodies, sides and backs: the pieces that make up the instrument's soundboard.

    Many of the manufacturers that chose this wood, chose it not only for its sound benefits, but also for its striking appearance: a spectacular flamed curl that appears on its surface. As an anecdote, some of the best Fender Teles and Stratos (USA) in history, have been made with this wood.

    At Maderas Barber we offer you the opportunity to discover Ash backs so that you can get a much more brilliant sound with your classic guitar.

    BOTANIC NAME: Fraxinus Americana.

    COMMON NAMES: White Ash, American White Ash.

    ORIGIN:  North America.

    DESCRIPTION:   Density 660 Kg/m3. The heartwood is a light to medium brown colour. Sapwood can be very wide, and tends to be a beige or light brown; not always clearly or sharply demarcated from heartwood. The grain is almost always straight and regular, though sometimes moderately curly or figured boards can be found.

    RECOMMENDATIONS: Produces good results with hand or machine tools. Responds well to steam bending. Glues, stains, and finishes well. Dulling effect.

    DRYING: Easy and fast drying.

    USES: Musical instruments. Flooring, millwork, boxes/crates, baseball bats, and other turned objects such as tool handles.

  • Mexican Granadillo

    Mexican Granadillo is a considered and recognized wood mostly for two qualities: it reflects the sound in a fresh and special way, and in addition, this wood is very resistant to fungi attacks which harms wood, thanks to its own high natural durability.

    If we also take into account the stunning appearance of this wood due to its various tonalities and colors, Mexican Granadillo backs will delight you in different ways. Discover this magnificent tonewood for your classic guitar in Maderas Barber.

    BOTANIC NAME: Platymiscium Yucatanum

    COMMON NAMES: Mexican cocobolo, Zangalicua, Mexican granadillo.

    ORIGIN:  Central America

    DESCRIPTION:   Density 800-1000 Kg/m3 .

    RECOMMENDATIONS: Store it at right temperature. It is recommended to work with sharp  blades.

    DRYING: Slow drying speed.

    USES:  Guitar backs and sides, fingerboards. Castanets and marimba.

  • Macacauba

    Macacauba is a special wood very difficult to find. This wood stands out for its powerful colors and for its acoustic proprieties, with a clear and unique tone.

    In Maderas Barber we love this wood in sounding boards and also in fingerboards: their results in these parts of the instrument are amazing. Discover this incredible tonewood in your classic guitar.

    BOTANIC NAME: Platimiscium spp.

    COMMON NAMES: Macacauba, Macawood, Hormigo, Orange Agate.

    ORIGIN:  Central and South America.

    DESCRIPTION:   Density 950 Kg/m3. Heartwood colour can be highly variable, ranging from a bright red to a darker reddish or purplish brown, frequently with darker stripe. Grain is straight to interlocked, with a medium to fine texture. High natural luster.

    RECOMMENDATIONS: Good working characteristics for both hand and machine tools, though areas of interlocked grain should be approached with care to avoid tear out.

    Turns and glues well.

    DRYING: Slow drying process

    USES:  Musical instruments, veneer, plywood and furniture.

  • Ovangkol

    Ovangkol is a great option if you find an attractive guitar and a traditional, but powerful acoustic. This wood offers high levels of high tones as it happens with Maple, and warm and deep low tones, like with Indian Rosewood. We can’t forget that this wood is also rich in harmonics.

    Ovangkol has also many advantages: it is very easy to work with, inexpensive and more sustainable than other tonewoods more known.

    These Ovangkol backs are the perfect option for your classic guitar is you are searching for a concert guitar or for flamenco soloists.

    BOTANIC NAME: Guibouthia ehie.

    COMMON NAMES: Ovangkol

    ORIGIN:  Central Africa.

    DESCRIPTION:   Density 780-825 Kg/m3. Varying shades of yellowish to reddish brown with darker brown, grey, or black stripes. Moderately wide sapwood is a pale yellow, clearly demarcated from heartwood. Sometimes seen with a curly or mottled grain pattern. Grain is straight to slightly interlocked. Medium to coarse texture, with moderate natural luster.

    RECOMMENDATIONS: Overall a fairly easy wood to work, though Ovangkol contains silica and can therefore dull cutters prematurely. Also, if the grain is interlocked, or if there is other figure present in the wood, planning and other machining operations may be troublesome and cause tear out. Turns, glues and finishes well.

    DRYING: Slow to normal drying process. Risk of deformation.

    USES:  Musical instruments. Floors and furniture.

  • American Walnut

    The use of American Walnut in musical instruments is having a great growth in the last years thanks to its ease to work with and to its stunning tonalities of brown color. Also, this wood mixes very well stability, hardness and resistance. If we add that American Walnut is also an abundant and sustainable wood, the result is a tonewood very complete.

    About the sound, American Walnut has a great and brilliant tonal response.

    All these reasons make American Walnut backs a perfect option for your classic guitar with a good value for money.

    BOTANIC NAME: Juglans nigra

    COMMON NAMES: Black walnut, American Walnut.

    ORIGIN: United States and Canada.

    DESCRIPTION:   Heartwood can range from a lighter pale brown to a dark chocolate brown with darker brown streaks. Colour can sometimes have a grey, purple, or reddish cast. Sapwood is pale yellow-grey to nearly white. Grain is usually straight, but can be irregular. Has a medium texture and moderate natural luster.

    RECOMMENDATIONS: Easy to work provided the grain is straight and regular. Glues, stain and finishes well. It is recommended to wear a face mask. Can cause eye and skin irritation.

    DRYING: Drying process must be slow.

    USES:  Guitar backs and sides. Fingerboards.

  • European Walnut

    European Walnut is a wood with an amazing beauty, both physically and acoustically. This wood is inside the group of heavy woods. However, it’s less hard than Maple. One of the most remarkable characteristics is its range of browns and its grain, which will guarantee you a natural and an amazing appearance.

    It is very easy to manipulate and its sound is halfway point between Ebony and Maple. European Walnut offers less marked high notes, strong mids, and well-defined bass.

    Don’t miss the elegance and the sobriety of these European Walnut backs of Maderas Barber.

    BOTANIC NAME: Juglans regia

    COMMON NAMES: European Walnut.

    ORIGIN: South East Europe.

    DESCRIPTION:   Heartwood can range from a lighter pale brown to a dark chocolate brown with darker brown streaks. Colour can sometimes have a grey, purple, or reddish cast. Sapwood is nearly white. Grain is usually straight, but can be irregular. Has a medium texture and moderate natural luster.

    RECOMMENDATIONS: Sawing is difficult because of knots and other defects. Easy to work provided the grain is straight and regular. Glues, stain and finishes well.

    DRYING: Slow drying process. Risk of deformation if you try to speed the drying process.

    USES:  Guitar backs and sides. Furniture, cabinetry, interior panelling, veneer.

  • Padouk

    Very similar to Rosewood, Padouk is, for its hardness and weight, a very durable, resistant, steady and easy to work wood. These characteristics make this wood a very good option for this part of the instrument.

    Besides, this tonewood has a stunning beauty with an intense red. About the acoustic, it is also a good wood since produces a clear and clean sound with medium density.

    Padouk backs for classic guitar has a high quality in Maderas Barber and they are perfect for instruments with an intense sonority.

    BOTANIC NAME: Pterocarpus Tinctorius

    COMMON NAMES: Padouk, Padouk, Camwood.

    ORIGIN: Gabon

    DESCRIPTION: Density 825 kg/m3. Heartwood colour can vary, ranging from a pale pinkish orange to a deep brownish red. Most pieces tend to start reddish orange when freshly cut, darkening substantially over time to a reddish/purplish brown. Grain is usually straight, but can sometimes be interlocked. With a coarse, open texture and good natural luster. 

    RECOMMENDATIONS: Overall Padouk is easy to work; tear out may also occur during planning on quarter sawn or interlocked grain. Padouk turns, glues, and finishes well. It is advised to apply a porous cover before using the products to finish the instrument.

    DRYING: Drying speed varies from quick to normal. There is not much risk of deformation during the drying process.

    USES: Guitar backs and sides. Xylophones.

  • Amazon Rosewood

    Amazon Rosewood is a wood highly appreciated, especially because it is the tonewood with more similarities to Brazilian Rosewood.

    This wood has excellent acoustic characteristics. In Amazon Rosewood, the sound perfectly reflects, which is totally necessary in classic guitar backs. Besides its obvious beauty, this wood shares some attributes with dalbergia nigra, but with even more density.

    Discover Amazon Rosewood backs of Maderas Barber and enjoy of the tonal and physical qualities of this high-quality wood.

    BOTANIC NAME: Dalbergia spruceana.

    COMMON NAMES: Amazon Rosewood.

    ORIGIN: Brazil.

    DESCRIPTION: Density 1100 kg/m3. Amazon Rosewood tends to be an orange or reddish brown, with darker contrasting streaks. Lighter yellowish sapwood is clearly demarcated from heartwood. It has uniform, medium texture with open pores.

    RECOMMENDATIONS: Amazon Rosewood can be fairly difficult to work on account of its density. It also needs to be glued with care ,as do most other true rosewoods.). It turns and finishes well, and can be polished to a high natural luster.

    DRYING: Due to its density, it dries slowly. Risk of cracks.

    USES: Guitar backs, sides and fingerboards. Xylophones.

  • Indian Rosewood

    Indian Rosewood is one of the most treasured and used woods by luthiers in musical instrument building. Thanks to its great qualities, this wood is used in many parts of the classic guitar.

    When you are choosing Indian Rosewood for your classic guitar, you are making a good choice: Because of its straight grain, its high resistance to tears and its ease to shape, this kind of wood is a completely success. Besides, we can’t forget the warm and dark sound of this tonewood, and its amazing appearance.

    If you chose this Indian Rosewood backs for your classic guitar, they won’t let you down. We have them available in different qualities for your instrument.

    BOTANIC NAME: Dalbergia latifolia.

    COMMON NAMES: Indian Rosewood, East Indian Rosewood.

    ORIGIN: India.

    DESCRIPTION: Density 870-900 kg/m3. Heartwood can vary from a golden brown to a deep purplish brown, with darker brown streaks. The wood darkens with age, usually becoming a deep brown. Has a medium texture and fairly small pores. The grain is usually narrowly interlocked.

    RECOMMENDATIONS:  It can be difficult to work with tools because of its interlocked grain and density. The wood can sometimes contain chalky deposits that will rapidly dull cutting edges. Glues and finishes well, though colour from the wood’s natural resins can inadvertently bleed onto surrounding surfaces when applying a finish, so care must be taken on the initial seal coats.  Can cause skin irritation

    DRYING: Dries slowly. There is no risk of deformation but it can crack. The wood colour improves with the drying.

    USES: Guitar tops , backs, fingerboards, bridges, headplates and Zanfoña pieces.

  • Santos Rosewood

    Santos Rosewood is a very dense, hard, compact and, most of all, long lasting wood. About its appearance, this tonewood has a great beauty thanks to its different color tonalities which goes from very dark brown to purple and yellow. And the results are incredible contrasts of colors.

    Its acoustic properties are very similar to Indian Rosewood, but Santos Rosewood has a warmer and a more brilliant sound. Santos Rosewood also has a percussive touch and a high sustain: the perfect combination between Ebony and Indian Rosewood.

    These Santos Rosewood backs for classic guitar are a great option to complete your sounding board, due to its resistance and hardness and because it doesn’t need many additional finishing processes.

    BOTANIC NAME: Machaerium scleroxylon.

    COMMON NAMES: Pau Ferro, Morado, Bolivian Rosewood, Santos Rosewood.

    ORIGIN: Brazil.

    DESCRIPTION: Density 940 kg/m3. Colour can be highly varied, ranging from reddish/orange to a dark violet/brown, usually with contrasting darker black streaks. Narrow sapwood is a pale yellow and is clearly demarcated from the heartwood. Grain is typically straight, though sometimes slightly irregular or interlocked. Fine, even texture and a naturally high luster.

    RECOMMENDATIONS: Pau Ferro is considered overall to be of fair workability, as it can blunt the cutting edges of tools, and any irregular grain has a tendency to tear out during machining operations. Also, many of the same challenges in gluing rosewoods are common to Pau Ferro as well. Pau Ferro turns and finishes well. Can cause eye and skin irritation.

    DRYING: Dries slowly. No risk of deformation but it can crack.

    USES: Guitar tops, backs, fingerboards , headplates and bridges. Wind instruments.

  • Purple Heart

    Purple Heart is a unique wood for its particular and intense purple color that any other wood has. But luthiers and musicians are not only attracted to Purple Heart for its color, cause its acoustic proprieties are also remarkable.

    This tonewood has a brilliant sound, very similar to Hard Maple, but warmer than this one. About it physical characteristics, this wood is hard and dense, what makes a little bit complicated to work with. But despite that, choosing Purple Heart backs for your classic guitar, will assure a different touch to your instrument. Find them in different qualities in Maderas Barber.

    BOTANIC NAME: Peltogyne pubelcens.

    COMMON NAMES: Purpleheart, Amaranth.

    ORIGIN: Central America.

    DESCRIPTION: Density 880 kg/m3. When freshly cut the heartwood of Purpleheart is a  dull greyish/purplish brown. Upon exposure, the wood becomes a deeper eggplant purple. With further age and exposure to UV light, the wood becomes a dark brown with a hint of purple.

    RECOMMENDATIONS: If the wood is heated with dull tools, or if cutter speeds are too high, Purpleheart will exude a gummy resin that can clog tools and complicate the machining process. Depending on the grain orientation, can be difficult to plane without tear out. Purpleheart also has a moderate dulling effect on cutters.

    DRYING: Drying speed varies from normal to slow. Risk of deformation

    USES: Musical instruments, furniture. It has excellent strength properties, and can be used in applications where strength is important.

  • Red Gum

    Red Gum backs for classic guitar are a very interesting option for the manufacture of the guitar soundboard, because they have similar sound proprieties to Mahogany or Cypress, and they produce a clean sound.

    Actually, Red Gum is an unknown wood to many manufacturers but it is increasing its presence in the manufacture of guitars in a very important way thanks to its spectacular drawings which make it a very striking wood.

    It’s important to say that this wood is one of those called "soft" so the mechanization and gluing of Red Gum backs will not be complicated. This type of wood reflects the sounds very well and achieves brilliant tones.

    In Maderas Barber we have a great variety of Red Gum backs for classic guitar: don’t hesitate and start enjoying its beauty.

    SCIENTIFIC NAME: Liquidambar styraciflua

    ORIGIN: USA

    DESCRIPTION: 560 kg/m3

  • African Mahogany

    Although African Mahogany and South American Mahogany are very similar, African Mahogany is less expensive and has more availability worldwide.

    African Mahogany has been commonly used for building necks, but nowadays is also used in backs thanks to its lightness and to its ease to work with. These proprieties make this tonewood a perfect option for the sounding board.

    Don’t miss the acoustic and physical abilities of this African Mahogany backs for classic guitar of Maderas Barber, always with the best quality.

    BOTANIC NAME: Khaya ivorensis.

    COMMON NAMES: Khaya, African mahogany.

    ORIGIN: Cameroun.

    DESCRIPTION: Density 490-530 kg/m3. Heartwood colour is variable, ranging from a very pale pink to a deeper reddish brown, sometimes with streaks of medium to dark reddish brown. colour tends to darken with age. Grain is straight to interlocked, with a medium to coarse texture. Good natural luster.

    RECOMMENDATIONS: Easy to work, glue, and finish. Tear out can sometimes be a problem if the grain is interlocked. Can cause eye and skin irritations.

    DRYING: Fast drying. Risk of deformation and cracks.

    USES: Guitar necks and heels, backs and sides, bindings, bodies for electric and bass guitars.

  • Sapele

    Sapele is an African tonewood with similar proprieties to Mahogany, both physically and acoustically. In fact, Sapele is usually considered a good alternative to Mahogany, because it has a great density, a brilliant sound, and it is even more affordable.

    Sapele projects very good the sound in the sounding board, it has a good finishing and an attractive aesthetic. Also, this tonewood has a great value for money and it is a very sustainable wood: two reasons why it is highly regarded by luthiers.

    About it sound, Sapele has good mid tones, very similar to Hard Maple, but even warmer.

    Don’t miss the chance of enjoying the balance of these classic guitar Sapele backs available in Maderas Barber.

  • Sycamore

    This tonewood, is without a doubt, the best option if you are looking for density and stiffness. That’s why this wood is one of the most used in classic and electric guitars.

    Sycamore is also well-known because it has a focused, brilliant and acoustic sound, very treasured by luthiers.

    Thanks to all these qualities, Sycamore backs for classic guitar of Maderas Barber are a great option if you want high quality and good performance in the same instrument.

    BOTANIC NAME: Acer pseudoplatanus.

    COMMON NAMES: Sycamore, Maple.

    ORIGIN: Central Europe, Eastern Asia.

    DESCRIPTION: Density 640 kg/m3. Sapwood colour ranges from almost white, to a light golden or reddish brown, while the heartwood is a darker reddish brown. Grain is generally straight, but may be wavy. Has a fine, even texture.

    RECOMMENDATIONS: Fairly easy to work with both hand and machine tools, though it has a tendency to burn when being machined with high-speed cutters such as in a router. Turns, glues, and finishes well, though blotches can occur when staining, and a pre-conditioner, gel stain, or toner may be necessary to get an even colour.

    DRYING: Allow air dry but can cause spots and colour alterations. It is important to dry it quickly to keep the white colour.

    USES: Guitar , backs and sides, bindings and fingerboards.

  • Wenge

    Wenge wood is attracting more luthiers and instruments builders every day. Originally, in the world of lutherie, Wenge was mostly used in necks and fingerboards. But with the pass of time, luthiers have amplified its use to other parts of the guitar thanks to its great qualities.

    Wenge is a hard, stable and rigid wood, which offers warm low tones and mid tones very pronounced. Like it happens with heavy, dense and hard woods, Wenge offers a brilliant sound and a deeper resonance.

    We can’t neither forget about the similarity of Wenge with Tulipwood: both of them reduce the highest nuances.

    Get surprised with the beauty and the quality of Wenge backs for classic guitar of Maderas Barber.

    BOTANIC NAME: Milettia laurentii.

    COMMON NAMES: Wengue, Panga-Panga

    ORIGIN: Central Africa

    DESCRIPTION: Density 830 kg/m3. Heartwood is medium brown, sometimes with a reddish or yellowish hue, with nearly black streaks. Upon application of a wood finish the wood can become nearly black. Grain is straight, with a very coarse texture. Low natural luster.

    RECOMMENDATIONS Can be difficult to work with hand and machine tools. Blunts tool edges. Sands unevenly due to differences in density between light and dark areas. Very large pores can be difficult to fill if a perfectly smooth/level finish is desired.

    DRYING: Slow drying speed. Low risk of deformations.

    USES: Guitar fingerboards, bridges, headplates, backs and sides. Bodies for electric and bass guitars.

  • Zebrano

    This wood’s name comes from the similarity of its grain with the skin of Zebras. Zebrano is an exotic wood very treasured due to its acoustic and physical qualities, and which is attracting more luthiers and instruments builders every day.

    Regarding to the sound, it has a tone very similar to Hard Maple, but with some restrictions in the highest tones. The result is a very brilliant sound with dynamic highs tones and clear mid-tones.

    Nevertheless, this wood has a little issue of being very rigid and difficult to work with. However, if it’s treated carefully and accurately, the result will be worth it.

    Don’t miss the sound wonderfully balanced of this Zebrano backs for classic guitar of Maderas Barber. They won’t let you down.

    BOTANIC NAME: Microberlinia brazzavilensis.

    COMMON NAMES: Zebrano, Zebrawood.

    ORIGIN: Central Africa

    DESCRIPTION: Density 790 kg/m3. Heartwood is a light brown or cream colour with dark blackish brown streaks vaguely resembling a zebra’s stripes. Has a fairly coarse texture and open pores. Grain is usually wavy or interlocked.

    RECOMMENDATIONS The wood saws well, but can be very difficult to plane or surface due to the prevalence of interlocking grain. Tear out is common. Zebrawood glues and finishes well, though a transparent pore filler may be necessary for the large open pores which occur on both dark and light surfaces.

    DRYING: Difficult to dry. Risk of deformations and cracks.

    USES: Musical instruments, tool handles, furniture.

  • Ziricote

    Ziricote is one of these woods known as precious or fine woods, and very treasured by luthiers. This wonderful and impressive tonewood presents a big contrast in its grain, what makes it more particular than others.

    About its acoustic proprieties:  this wood has a low damping and a higher tone than Tulipwood. It has a resounding sound, bright high tones and a great variety of harmonics.

    Without any doubt, Ziricote backs for Classic Guitar are a safe option in order to build your instrument: elegance and good sound proprieties in the same wood.

    BOTANIC NAME: Cordia Dodecandra.

    COMMON NAMES: Ziricote

    ORIGIN: Central America.

    DESCRIPTION: Density 805 kg/m3. Ziricote has colour ranges from medium to dark brown, sometimes with either a green or purple hue, with darker bands of black growth rings intermixed. Ziricote has a very unique appearance, which is sometimes referred to as “spider-webbing” grain figure. The pale yellowish sapwood is sometimes incorporated into designs for aesthetic effect, or to cut down on wastage. Grain is straight to slightly interlocked. Medium to fine texture, with good natural luster.

    RECOMMENDATIONS Ziricote is fairly easy to work considering its high density. The wood tends to develop end and surface checks during drying, which can be problematic: though the wood is stable once dry. Ziricote turns and finishes well, and in most instances, it can also be glued with no problems.

    DRYING: Dries slowly. Risk of deformations or cracks.

    USES: Guitar backs and sides, fingerboards.