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The first scenario is more common, and the majority of people who approach us know what kind of wood they want to use and what kind of sound they want to achieve. For beginners, here’s some easy advice: if you fancy a mellow, rich sound, go for a cedar top. Spruce is the answer if you want a direct, distinctive, and clear sound. Swiss and Dolomite spruce can be a little “closed” initially, but it gets better and better while playing and keeps maturating over years. But if you’re looking for something in the middle, thermo-treated spruce could satisfy your needs.

Choosing the back and side material for your guitar is typically an easier decision, as you can quickly determine whether you like the color and pattern or not. The most common choices for back and side materials are Cocobolo, well, because it is Cocobolo and it is freakin’ beautiful, premium Indian Rosewood, or Macacuaba and Granadillo, which are popular among those who appreciate wood with wild grains. However, we have also made some super classy guitars using traditional guitar materials such as mahogany too. People often ask about the effect that back and side materials have on the sound of a guitar, and it’s a super interesting topic. At our company, we’ve tried to cover this topic in our R&D section on wood, as well as in other blogs that focus on tonewoods. My personal favourite is Madagascar Rosewood as it resonates in a way no other available wood does. But that’s just my opinion, of course. Some consider it even too resonant.

Another great way to personalize your guitar is by adding a symbol, writing, or picture on the fingerboard or headstock. Although this option can be more expensive since we need to spend significant time designing it in a usable form, creating codes for CNC/laser, it’s worth it if it has a special meaning for you. A more affordable alternative is to create a vignette with your own name or unique design

The worst case scenario is to mix everything together in a way that makes no sense. As long as the guitar is the idea, everything works ok, but then when you bring the material on, you can find out very quickly that it doesn’t work together and evaluation is needed.

And it actually happens quite often in the early stages of design, so don’t panic, take your time and think about the features that are important to you. And don’t hesitate to contact us:)

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Firstly, it’s important to decide what type of guitar you want to play. You have a choice of classical, acoustic, or electric guitars, but they all have usually one thing in common – six strings.

In the past, finding a guitar could be a challenge, but nowadays it’s easier than ever. With so many brands and price ranges available, you can easily find one that fits your budget and preferences. You can purchase a new guitar online or second-hand, but it’s always a good idea to seek advice from experienced guitarists or dealers. They can guide you on the right balance between price and quality.

However, the most important factor to consider is your personal preference. Choose a guitar that you like, that catches your eye, and that feels comfortable to play. After all, you’ll be spending a lot of time with it, so it’s essential that you feel a connection with it.

To sum it up, buying a guitar can be an exciting experience. So, take your time, do your research, and choose a guitar that you’ll enjoy playing and that will inspire you to create great music. Good luck!

Rasto

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Spruce is a versatile tonewood that is commonly used for guitar top plates. But when we talk about spruce we mean Swiss or Dolomite spruce from local European sources. These are characterized by their bright, clear tone and quick response, making them ideal for a wide range of playing styles. Good Spruce is also very lightweight and resonant, allowing for good projection and sustain. It is a popular choice for many steel-string acoustic guitars, as well as classical guitars.

Cedar, on the other hand, is a softwood that is known for its warm, resonant tone. It is often favored by fingerstyle guitarists, as it produces a rich, warm sound that is ideal for delicate playing techniques. Cedar is also lighter than spruce, which makes is good for smaller-bodied guitars, and it responds well to lighter playing styles, producing a delicate, nuanced tone.

Sitka spruce is another type of spruce that is commonly used for guitar top plates. It is characterized by its tight, focused sound and quick response, making it ideal for flatpicking and other aggressive playing styles. Sitka spruce is a dense wood, which gives it a bright, punchy tone, and it is a popular choice for many steel-string acoustic guitars.

Thermo-treated spruce, also known as torrefied spruce, is a type of spruce that has been subjected to a specialized heat treatment process. This process changes the molecular structure of the wood, making it denser and more resonant. Thermo-treated spruce is known for its warm, responsive tone and excellent projection, making it ideal for a wide range of playing styles.

In conclusion, the choice of tonewood for the top plate of a guitar will depend on a number of factors, including the playing style, the desired tone, and the type of guitar. Whether you choose spruce, cedar, sitka spruce, or thermo-treated spruce, each type of wood offers its own unique advantages and tonal characteristics, so choose wisely and get ready to experience the full potential of your instrument!

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When selecting the tonewood for your guitar, you should consider a number of factors, including the type of music you play, the sound you want to achieve, and your personal preferences. Each type of wood has its own unique properties that will influence the tone of the guitar. For example, rosewood is often used for its warm and rich tone, while maple is prized for its bright and articulate sound.

Once you’ve selected the tonewood for the back and sides and top, the next step is to choose the specific pieces to use on fingerboard, head plate and bridge. This is where the personalization of your guitar really can pick up momentum.

Another important factor in the tonewood selection process is the way the wood is treated. Different techniques, such as torrification, can be used to enhance the tonal properties of the wood, giving you even more control over the final sound of your guitar. Some like the wood “to age ” with her/him and some want the guitar to have a full rich tone from the beginning.

In conclusion, the tonewood selection is a crucial aspect of the custom-made guitar design process. Whether you’re a professional musician or just a beginner, the right tonewood can help you achieve the sound you’re after. So take your time, do your research, feel free to contact us and choose the right wood for your custom guitar.

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The most risky factors for an all solid or solid top instruments are the change in temperature and humidity, which can cause deformation or even cracking of the sounding boards or body, pay special attention to the instrument during the heating period. Avoid exposure to radiant heat. Do not expose the instrument to direct sunlight (e.g. on the seat or behind a car window), even in the case. Do not expose the instrument to freezing temperatures, even in the hardcase. Unless otherwise possible, choose the gentlest form of transport and allow the instrument to acclimatize slowly first.

It is essential to store the instrument in a room with a minimum humidity of 40%, the optimum relative humidity interface is 45-50%. If necessary, equip your instrument with a humidifier.

If an all-solid instrument is exposed to lower humidity than recommend,  you can notice buzzing strings, less comfortable playing, and sharp frets. Don’t panic. ( As Hitchhiker’s Guide to the Galaxy suggests as well). Try to humidify your guitar first. There are plenty of guitar humidifiers on the market and sometimes even a  dump cloth in the room works pretty well. 

If the guitar is stored in higher humidity than suggested – more than 55% – you can notice high action and buzzing on 14 – 18th fret. You need to dry your guitar gently. That means keeping it in a room with ideal humidity for few days and checking it again after some time. 

Please, note, that an evident exposure to high or low temperature and humidity is not covered by warranty. 

2.CLEANING, STRINGS CHANGING

We highly recommend to use special products or very gentle products based on natural substances to clean the instrument. Strictly avoid products on an acetone base as it could cause a damage of the varnish. We recommend changing strings after about 30 hours of clean playing, never use oxidised or dirty strings – this increases the wear on the frets and fingerboard.

Only “nylon” strings can be fitted to a classical guitar that has been fitted with “nylon” strings from Dowina.

Damage to the instrument resulting from failure to follow these instructions is not covered by the warranty.

3.NECK ADJUSTMENT (TRUSS ROD)

The instruments have an optimum actin of 2,5 – 2,8mm on 12th fret from our setup department. If the neck needs to be readjusted after changing the strings, use the supplied wrench (applies to instruments that have a manually adjustable neck) and turn the trussrod left or right to adjust the as required, the strings must be tight when doing so. Please note that the ideal action is individual to each player and depends on a number of factors, the most important of which are the style and technique of right-hand playing, the strength of the stroke, the thickness of the strings used and others, therefore the manufacturer accepts no responsibility for meeting the individual requirements of this type and the amount of matchmaking is not covered by the warranty scheme.

 Only the functionality of the truss rod itslef is covered by the warranty. Do not use brute force when handling the tool in any way.

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It’s important to note that musical instruments have both sonically active and sonically passive parts. The active parts radiate sound, while the passive parts hold everything together or are simply aesthetic. For example, in an acoustic guitar, the active parts are the top plate and the strings. All the other parts are necessary for various reasons, but they can also be a hindrance to the soundboard’s resonance. The braces, fingerboard, and bridge plate, for instance, all have to be dragged along with the soundboard’s wild oscillations.

Tonewood, on the other hand, refers to woods that are ideal for making individual parts of musical instruments, perform their function reliably, and look aesthetically pleasing. They don’t have to resonate wildly to play well. Tonewoods are typically exceptional woods, often exotic, that possess specific properties perfect for their intended use. For instance, maple is frequently used for guitar necks because it’s strong, stable, and has a beautiful grain pattern.

It’s worth noting that while good tone wood is essential for instruments like xylophones, where multiple tones must resonate together, resonance wood tend to excel at producing a single tone, but with great strength and clarity.

Next time whether the wood really “breathes.”

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1. CONDITIONS OF WARRANTY

If, during the applicable period from the date of original purchase, your Dowina guitar product is found on authorized inspection to have a defect in material or workmanship, Dowina will repair such defect without charge for parts or labor. Routine maintenance and results of regular wear are not covered by this warranty.

This warranty is valid only for new Dowina products purchased from an authorized dealer

and is available only to the original purchaser.

This is the only warranty which Dowina provides with respect to your Dowina guitar and disclaims all other warranties relating to your guitar. In any event, Dowina will not be liable for any incidental or consequential damages.

Under local legislation of different states, limitations and exclusions may vary and may not apply to you. This warranty gives you specific legal rights. You may also have other rights that vary from state to state. In the event any of the provisions of this warranty are found by statute or by applicable administrative or judicial entity to be unenforceable, the remaining provisions shall remain in force.

2. WARRANTY PERIOD

As an expression of confidence, Dowina provides a 3-year warranty period for all parts (excluding strings) and labor. Dowina will replace any individual component identified as defective by competent technical authority, without charge for parts or labor. Dowina reserves the right to utilize reconditioned parts and subassemblies as warranty replacements in the repair of the product. In the event Dowina determines that the unit cannot be repaired, Dowina will replace the defective unit with either the same model product or one that is reasonably equivalent. Should warranty service be required, your warranty periods will be extended by the number of days that elapse between the date you report a defect and the date that the unit is repaired.

3. OWNERS RESPONSIBILITIES

Dowina warranty does not cover expenses spent due to lack of understanding of product’s attributes while operating as designed. Make sure you consult with your retailer in detail all Dowina guitar’s operating attributes prior to the purchase. Please consider below responsibilities, which are necessary for purchaser to follow in order to successfully claim Dowina’s warranty service.

• Keep purchase documents for the time of warranty period. You will need to provide them to Dowina in order to successfully claim warranty service.

• Notify authorized Dowina guitars retailer without any delays about evident defects.

In case you feel such a defect occurs on your product, contact your local Dowina retailer authorized to sell Dowina guitars. You can also contact Dowina directly.

IMPORTANT: Do not ship your guitar to authorized retailer services or Dowina without Return Authorization. Inbound shipping and insurance are your responsibility and no collect shipments will be accepted. Repaired products will be returned to you prepaid and insured only for replacement value. Excess insurance coverage will be purchased only upon your request and costs will be your responsibility.

4. EXCLUSIONS

Dowina warranty does not cover following:

• Failures which are results of improper operations, repair or maintenance.
• Failures which are results of abnormal strain, percussive playing style, neglect, modification, accidental damage or exposure to extremes in temperature or relative humidity, that should be kept constantly in range of 40 – 50 %.
• Guitars purchased from unauthorized Dowina retailer.
• Guitars with modified or altered name or identification number.
• Failures, which were caused by repairs of subjects not authorized by Dowina.
• Regular wear including strings, frets, finish, fingerboard, accidental damage, and abuse.
• Tone is not guaranteed as it’s subject of individual perception of listener.

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The shifted X-bracing design moves the acoustic center to the middle of the top plate, which allows the sound to be spread evenly through the wood. The sloped side creates more space for your hand and makes it easy to reach higher frets.

Inspired by the Golden Cut – a ratio considered to be the most natural and eye-catching in nature – the special body shape is not only aesthetically pleasing but also functional. The fretboard inlays are Lissajous figures, which are graphic representations of different intervals.

Our cross-laminated needle reinforcement not only creates a unique visual effect but also offers great support to the overall neck stability. And, the built-in heel – one of the most special features of this new model – allows guitarists to play in higher positions, further expanding their playing range.

All of these new features can be adopted on any of our Master and Custom series guitars. The choice is yours – simply choose the wood combination and design your very own Aura.

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We usually spend 2 to 3 working days every 3 months to get the wood we need. However, we can’t use the wood immediately, so it’s crucial to have a nicely stocked inventory in advance. Many woods need to undergo vacuum drying if they’re freshly cut, and then they need to rest for months before they can actually be used in guitar production. So, we have to think way ahead of time. At Dowina workshop, the wood undergoes a special process called “wood conditioning” in a hot room or vacuum oven with multiple cycles.

Personally, I’m a huge fan of selecting the back plates. Some American walnut plates can leave you breathless, and don’t get me started on cocobolo! I remember the first time our supplier Toni showed us a piece of super old Bois de Rose. I was so captivated that I literally held at him, “I want that now!” Toni just laughed and assured me that we would be one of the first to approach him when it was ready.

Unfortunately, sometimes the most beautiful plates are too weak and soft, and there’s nothing we can do but let them go with a sad tear in our eye. But don’t worry, we’re not standing over a pile of plates crying. In fact, we love our wood selection trips because they’re a lot of fun. We get to chat with people who love tonewoods just as much as we do, discussing news and discovering old stocked sources. Sometimes, it can feel like entering the Tutankhamun tomb – it’s that exciting! I think that’s why my dad loves it so much, and we hope that you can feel the love in your Dowina guitar too.

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