Thanks for the technical information. It would be interesting to do a hardness test on old growth Adirondack as compared to the newer growth. When a tree grows slower the grain is tighter. Severe and longer winters can slow down growth, and winters have been getting milder in the second half of the 20th century. I think your theory about the the pre-war Martins is true. The wood they were using was old growth and the grain was probably tighter and maybe stiffer and harder than the newer growth we are using today. Age and regular playing certainly helps to change the tone of an instrument. Very interesting topic of discussion!

Hello again gentlemen. Another fun and informative video. My favorite guitar guys. Thanks again for all your hard work and dedication.

Fascinating video, guys! Really enjoyed it

I really enjoyed listening to you with all your Knowledge!!

This is a very interesting topic. I hope that you follow through with the experiment. Also, speaking of J. Hayes: He and Sarah Snyder are great assets to Alvarez. I emailed a simple question about model comparisons, and next thing I know I'm talking to the brand manager! I can't imagine any other big guitar company doing that. He gave me genuine encouragement and sound advice based on our discussion of my preferences and playing style. Shout out to Kyle at Musician Madness - He also took a lot of time to match me up with the right guitar for me. I'm now the proud owner of an FYM66HDC. My only complaint is that I'm losing sleep, because I can't put it down and go to bed!

I listened in for your tone-wood comments, but found myself lost in your jam at the beginning of the video. Very nicely done.

This might be THE BEST discussion on this channel!

Great information on the comparison Sitka vrs Adirondack woods. have you ever done a video on Black walnut back & Sides with Sitka or Addy top ? Thanks .

Please do a comparison video of these two guitars. There aren't any in- depth comparison reviews of these two awesome guitars! I definitely want to see more.

Ceiling joist theory! I think you are on to something. Thankfully we now use Adirondack for guitars and not for eating. Cool bit of history though. These videos are superb; I learn something with each one. Keep up the terrific work. Looking forward to results of you experiment.

Chris: I've got a couple torrefied top Adirondacks and the DYM60HD. Torrefied treatment really does make a big difference. That treatment on a DYM or FYM top would be incredible. Has Yairi ever considered doing a torrefied treatment? THANKS

Just checking, did you get to making these Adirondack n Sitka matched guitars?

I still own my first guitar, a 1967 Harmony H-162. To say that this was a mass-produced guitar could be seen as an understatement. Chicago Musical Instruments (Harmony's parent company) built more than 250, 000 guitars in 1967. The gluing is sloppy, the bracing is super simple and heavy, and the neck is Poplar with a rosewood fingerboard. It's all solid woods! The neck has come loose (as they all tended to), and I'm thinking I'd like to convert it from ladder bracing to X-bracing.

Every guitar I own has Sitka Spruce for the top wood, except for one. My Recording King Rd-328 has Adirondack Spruce for its top. And it sounds way different and louder than any guitar we have. Now the Adirondack Spruce, that's in the Recording King, was from more than 30 years ago. When they started back up production they decided to use that Adirondack Spruce up. So it's not from modern day trees, plus it's got over 30 years of drying out. Yes the grain pattern is way different than Sitka Spruce and looks more wild but tight grain. I don't know what makes the difference, the wood species or it's age, but I absolutely love it's sound and it's definitely different sounding than Sitka. They both are great sounding wood.

Fun discussion, which I may be able to add a bit of insight to. I'll be 70 in October and have been playing 6 & 12 string acoustics exclusively throughout my life, playing daily since retiring. Four of my (dozens of) guitars that may add to this discussion are (were) 1) my 1971 Martin D12-28 that I bought new, 2) my Taylor 514c that I bought new in 1996, 3) my 1996 Martin J40 that I bought used (trading a gorgeous James Goodall finger picker for it), and 4) my gem, a DYM60HDE Yairi Masterworks Dreadnought Acoustic-Electric Guitar preordered from Woodwind/Basswind six months before it was finished and received around July of 2021. 1st story. Martin D12-28: This was my "go to" guitar and I played it for over a dozen hours a week from the moment I brought it home. 22 years later, still in pristine condition, I made the mistake of loaning it to a close friend who was as good as JT but irresponsible. He returned it to me with a slight crack in the top, having been bringing it in and out of a cold car and into a warm nightclub. Me, being inexperienced, did nothing at that time and watched that crack spread slowly down the body, until the neck began to implode into the guitar. Long story short, I sent it back to the Martin factory in Nazareth, PA and, 6 months later, got my brother back in PERFECT/AS NEW condition. I tuned "Uncle Martin" up and began to play, and to my despair, felt like I had sent my brother in for a tonsilectomy and picked him up after having gone through a frontal lobatomy! That was a sad day for me and I ultimately sold that guitar to a friend, who loves it to this day... Proof here that the aging comes mainly from the top, which was Sitka, with East Indian B&S. That guitar NEVER bottomed out on me, which leads us to story #2. 2nd Story. Taylor 514C: This was a lovely, beautifully made Grand Auditorium sized guitar with a red cedar top and mahogany B&S. Great finger picker but I tend to play much more aggressively and 70% rhythms. When I would strum that guitar, even only moderately hard, it woud "flatten out" on me and I would not be able to drive it the way I wanted to. I wound up giving it to my daughter, who chose piano instead and it sat under a bed for half it's life. (In that superb Taylor case of course.) About six years ago I leased it from her... for LIFE, lol, and got that back for $1,000. I'd estimate its true value now to be at least $4,500 and (probably more) it is still in perfect condition. The reason for even mentioning this guitar, which sounded aged even when brand new (thank you red cedar & mahogany), is because that guitar, with 20 years on it, while not a "cannon" WAS considerably more drivable! I couldn't "dig in" completely, but enough to satisfy me when I wasn't going absolutely ape-shit crazy on it. Even the luthier remarked at how magnificent this guitar is when I pulled out the 1990's crap electronics and installed a K&K Pure mini into it. So, second story, almost over... but for reasons that will become aparrent, I'm giving it back to my daughter on her 40th birthday later this month so that heirloom will stay in the family. 3rd Story. 2006 Martin J40 (4th generation CF (Chris) Martin's contribution to their line.) The James Goodall I bought was the best guitar I ever owned but it had the same limitation as my 514. I loved it, but it just wasn't the one... wish I could have kept it. When I found someone who wanted a finger-picker and had a cannon to trade I took the plunge and came out $1,000 ahead with my "like-new" J40. Unlike the sad experience I had with Uncle Martin, this experience was joyous. Tuned it up and started running it through my normal series of test riffs so I could really hear it. So, here I am, digging in a little, then a little more, and then FLAT OUT , and I can swear that I heard that guitar say to me; "Is that all you've got white boy?" And I had to admit, yessir, that's it brother! It was a match made in heaven, and I still play this guitar in a regular rotation with my others. PS: This is also a Sitka Spruce top and East Indian Rosewood B&S. 4th story. The UNBELIEVABLE "DYM60HDE" Yairi Masterworks Dreadnought Acoustic-Electric Guitar! I waited around six months for this to be built. I know the quality of Yairi, and actually have a 1992 Yairi 12-string, but not the strength I once had when Uncle Martin was my main axe. So, the 12 doesn't get the time it deserves.. but I'm working on that... getting my finger strength up. This design, the way the strings attach to the body, the increased angle, the more powerful vibration that the strings can impart to that Adirondack 4+ spruce, and the superb fit and finish in that naturally aged (50 years) seasoned Honduran mahogany, made this a most amazing guitar right out of the box! As unbelievable as this statement sounds, IT BLEW MY MARTIN J40 AWAY! Not only can I dig into this guitar, to my hearts content, but it is far more articulate, as was the 514 and even the $6,000 James Goodall Grand Conert model I owned for a short time. Now, considering that the B&S are aged and the Adirondack 4+ is only a few years old now, I can only IMAGINE what this impossible guitar is going to sound like in the future. One thing's for sure; NO ONE ELSE IS GOING TO PLAY THIS GUITAR while I'm still breathing... been there done that. As for my Martin J40; I still love that guitar. There are songs that are darker and the Martin is definitely that, plus woody, which is a taste all long-term Martin fans have come to appreciate. Still, If I could only take one guitar through the Pearly Gates with me... guess which one it'd be! :) Great job there men. Keep up the great work so more of "us ole" folks will have something to thrive on.

I bought a Cort LE Addy top Maple back Grand Auditorium exactly couple years to the day, n I was playing fingerstyle softly in the living room to not disturb my parents, who were watching TV Yet they could hear me all the same, as they told me next day, n then later when I switched to strumming I just shocked myself What I'm trying to say, quite badly, is it had the clarity, dynamics and power even on day 1 2 years later, almost daily playing (because I just love its sweet tone) about half an hour, and now comparing with a Sitka Fender parlour that projects too loudly and is very responsive, I still love the sweetness and power, a kind of contradiction of sorts, of my Addy GA, and now it has a bit more percussion in the bass and feels more rounded overall But I think it will open up more, plays fantastically on cold humid nights

I have owned the fym60hd for 3 months. It is the most comfortable guitar I have ever played. It is the only Adirondack topped guitar I have played. I have played hundreds of sitka topped guitars in guitar stores. I don't know which soundboard is stiffer. But the fym60hd produces a harmonic sound I have not heard in any other guitar. An awesome guitar from Alveraz Yairi! As far as the tests done on Woods data base. Wood properties varies even in the same tree. So even if the weight is the same the sonic properties can vary dramatically between the samples. Perhaps it would be more reasonable to say that it really depends on the individual soundboard. Some Sitka are stiffer and have more headroom than some Adirondack. Also, some Adirondack are stiffer than some Sitka.

Great channel, very interesting. Personally not keen on scalloping, by definition it unbalances the sound. You get more bass thump but there is a very real and shimmering brilliance in the mids/trebles that is then lost with scalloped braces. Balance is more important than bass, you can always EQ more bass in but you can't remove muddy bass and it can really woof during recording. I've noticed non-scalloped guitars feel "spongier" (in a good way) to play and can be hit harder before it breaks up.

Another question. Does Yairi currently use hide glue on their DYMs/FYMs? Thanks, Doug

Did you guys build out the guitars and make a comparison?

Aloha the comments made about red spruce is the same I heard about Sitka spruce. Where it played more the better it sounds.

19:14 where is the follow up video?

Cool. I want to hear the result.

I don’t claim to have the answer, but I have a guess: Adirondack tends to sound the way it does and different from Sitka because the majority of guitars made with Adirondack are either: Vintage, decades old wood Or High grade, (therefore presumably stiffer per piece) new growth Adirondack And/or Made to mimic or compete with the historically great guitars of yore. While the majority of Sitka guitars are built after 1960 (as you mentioned) and/or are built using just decent grade pieces. There are certainly Sitka guitars made with high grade stuff. But I think maybe the most often used and heard combinations (older, higher grade Adi vs. younger, average grade Sitka) are what is giving people the idea that Adirondack has more headroom.

Always like the lessons learned when you folks talk about sound, wood, etc. However, I am distracted by the 3 Jazz guitars placed strategically, just for that purpose, behind you gentlemen. Are these guitars the same ones shown a few weeks ago? Or, are these models of new guitars to come. Quit teasing us!!!

It's the bark on the trees that gave it it's name

Each wood has its own properties.

I have never owned an ALVAREZ BEFORE---but i recently purchased a 50th ANNIVERSARY ADH600CESHB....and for what I payed for it...(only $100-AND IT CAME WITH a leather strap worth $75 by itself.....LMAO...LMAO....WHAT A FREAKIN DAMN DEAL FOR SURE)...IT was worth every last red cent of it.I did just some Minor Adjustments on the truss rod and cleaned the fretboard superbly...and cleaned the frets as well....AND THIS BABY PLAYS---AND ESPECIALLY SOUNDS-LIKE A DREAM IN YOUR HANDS !!!!! What an AMAZING GUITAR FOR REAL....I would buy another one at anytime !!!!!!!

Hey america did you all see those limeys tearing it up . All Hail, the Queen. Actually respect on That note the wonderful lady she passed here. Recently I don't know what I say now. but no disrespect cause I think that was a wonderful lady superbly interesting. I like the fact that she drove her own car to feed her cows, that was kinda cool. Started off about guitars and then wound up my ultimate fascination with the wonderful elizabeth anyway, You guys rock

something I've noticed, and as far as i know, it's only me. i have yet to find anybody to corroborate my observation, so for now, I'm only one opinion. so somebody help me out here. and this I've noticed with a few brands, not just Alvarez, but to me, gloss tops, depending on thickness, kind of takes away some sound, resonance, sustain, and just overall sound quality as opposed to solid tops. Am i alone in my observation of this?

Headroom is an odd term to use. Dynamic range seems more appropriate.

ok

Interesting. Kept being distracted by the archtops behind you. Time frame for when they are available?

Conclusion? We don’t know. No two trees are alike. No two sections of the same tree are alike. My Martin custom shop has adi top and adi braces. I’ve played it almost every day for five years. It’s BEGINNING to open and warm up. Some notes still sound tight and like glass. We are being convinced adi is the worth higher cost. Not so sure it isn’t a marketing trick. Guitars are often over built to cut down on warranty work. How do you spell Gibson?

Turned it off. Too many ads right in the middle of a sentence. So annoying. Every 30 or 45 seconds another sentence is cut off to play another ad. Goodbye.

I mean, you guys know your stuff, but really, you just talk too much and don't play enough in every comparaison with guitars you make! EVERYBODY COMPLAINS ABOUT THAT! Please take this as a constructive complaint, a take consideration of changing this for your viewers!