{"id":10014990,"date":"2026-06-19T09:55:00","date_gmt":"2026-06-19T07:55:00","guid":{"rendered":"https:\/\/www.thomann.de\/blog\/fr\/?p=10014990"},"modified":"2026-06-15T10:59:58","modified_gmt":"2026-06-15T08:59:58","slug":"bois-de-guitare","status":"publish","type":"post","link":"https:\/\/www.thomann.de\/blog\/fr\/inspiration\/bois-de-guitare\/","title":{"rendered":"Bois de guitare : comment le bois de ta guitare d\u00e9finit le son qu\u2019elle produit ? \ud83e\udeb5"},"content":{"rendered":"\n

Zoom sur le bois de guitare : j\u2019ai bien conscience de m\u2019aventurer sur un terrain min\u00e9 avec cet article. Autant dans le domaine de l\u2019acoustique, l\u2019influence des essences choisies sur le son d\u2019un instrument laisse peu de place au doute, autant dans le domaine \u00e9lectrique, les sceptiques sont nombreux. Ils vont m\u00eame jusqu\u2019\u00e0 postuler que le bois n\u2019a aucune influence, qu\u2019il suffit de bons micros pour avoir un bon son. Et pourtant, une Epiphone ne sonne pas comme une Gibson du Custom Shop pour peu qu\u2019on lui mette les m\u00eames micros, \u00e9tonnant non ? Pour te guider dans cette jungle peupl\u00e9e de cr\u00e9atures de mauvaise foi, nous te proposons ce petit tour d\u2019horizon.<\/p>\n\n\n

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\n \"Les\n <\/div>\n\n
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Epiphone<\/p>\n

Les Paul Standard 50s WCS<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
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\n (4)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 666 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
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\n \"Les\n <\/div>\n\n
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Gibson<\/p>\n

Les Paul 59 Washed Ch VOS<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
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\n (4)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 5\u00a0899 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n
\n \n \n \n<\/svg>\n\n <\/div>\n <\/div>\n
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Vous \u00eates actuellement en train de consulter le contenu d’un espace r\u00e9serv\u00e9 de YouTube<\/strong>. Pour acc\u00e9der au contenu r\u00e9el, cliquez sur le bouton ci-dessous. Veuillez noter que ce faisant, des donn\u00e9es seront partag\u00e9es avec des providers tiers.<\/p> Plus d’informations<\/a> <\/div>

D\u00e9bloquer ce contenu<\/a> Accepter le service requis et d\u00e9bloquer son contenu<\/a> <\/div> <\/div> <\/div><\/div>\n<\/div><\/figure>\n\n\n\n

<\/a>Qu\u2019est-ce qui fait vraiment le son d\u2019une guitare ?<\/strong><\/h2>\n\n\n\n

Entendons-nous bien pour commencer : le bois n\u2019est rien si on ne l\u2019utilise pas correctement. La qualit\u00e9 de conception et de fabrication d\u2019un instrument, acoustique comme \u00e9lectrique, reste le facteur le plus important lorsqu\u2019il s\u2019agit de d\u00e9terminer le son qu\u2019il va produire. Le Custom Shop de Fender a fait des guitares et carton, en l\u00e9go et en allumettes pour le prouver, et ces instruments avaient l\u2019air de ne pas trop mal marcher. Taylor de son c\u00f4t\u00e9 a r\u00e9alis\u00e9 la fameuse guitare acoustique en bois de palette, et leur conception est de telle qualit\u00e9, notamment les barrages, qu\u2019elle n\u2019\u00e9tait pas \u00e0 des ann\u00e9es lumi\u00e8res des autres mod\u00e8les de la marque.<\/p>\n\n\n

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\n \"G6120T-59VS\n <\/div>\n\n
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Gretsch<\/p>\n

G6120T-59VS Chet Atkins<\/h3>\n <\/span>\n\n
\n Note : 0 sur\n 10<\/span>\n
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\n \n 3\u00a0498 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
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\n \"FilterTron\n <\/div>\n\n
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Gretsch<\/p>\n

FilterTron HS Bridge Gold<\/h3>\n <\/span>\n\n
\n Note : 8.00 sur\n 10<\/span>\n
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\n (19)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 99 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
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\n \"81\n <\/div>\n\n
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EMG<\/p>\n

81 Black<\/h3>\n <\/span>\n\n
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\n (684)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 85 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
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\n \"RRX24\n <\/div>\n\n
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Jackson<\/p>\n

RRX24 Black with Yellow Bevels<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
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\n (38)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 799 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n
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Sur une \u00e9lectrique, l\u2019influence respective du bois et des micros va en grande partie d\u00e9pendre du niveau de sortie de ces derniers. Sur une Gretsch 6120, les Filter\u2019Tron ont un niveau de sortie tellement r\u00e9duit que la lutherie a une place colossale dans la cr\u00e9ation du son. \u00c0 l\u2019inverse, avec des micros actifs type EMG 81, la r\u00e9sonance propre \u00e0 la guitare a relativement peu d\u2019importance (m\u00eame si elle en garde quand m\u00eame, il ne faut pas caricaturer). C\u2019est pour cela que beaucoup de constructeurs choisissent un bois \u00e0 la personnalit\u00e9 plut\u00f4t neutre comme le tilleul pour les guitares avec micros actifs comme la Jackson RRX24.<\/p>\n\n\n\n

Mais de fa\u00e7on g\u00e9n\u00e9rale, comme Paul Reed Smith s\u2019\u00e9vertue \u00e0 le d\u00e9fendre, le bois a un son, m\u00eame sur l\u2019\u00e9lectrique. Les micros captent la vibration des cordes, et cette vibration est aussi impact\u00e9e par la densit\u00e9 du bois, par sa rigidit\u00e9 et par la fa\u00e7on dont le corps est reli\u00e9 au manche. Ces diff\u00e9rences informent la dur\u00e9e du sustain, l\u2019imm\u00e9diatet\u00e9 de l\u2019attaque et la richesse harmonique, autant dire qu\u2019elles ont une importance cruciale.<\/p>\n\n\n\n

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Vous \u00eates actuellement en train de consulter le contenu d’un espace r\u00e9serv\u00e9 de YouTube<\/strong>. Pour acc\u00e9der au contenu r\u00e9el, cliquez sur le bouton ci-dessous. Veuillez noter que ce faisant, des donn\u00e9es seront partag\u00e9es avec des providers tiers.<\/p> Plus d’informations<\/a> <\/div>

D\u00e9bloquer ce contenu<\/a> Accepter le service requis et d\u00e9bloquer son contenu<\/a> <\/div> <\/div> <\/div><\/div>\n<\/div><\/figure>\n\n\n\n
PUBLICIT\u00c9<\/div>
\"\"<\/a><\/div><\/div>

<\/a>Les bois de l\u2019acoustique<\/strong><\/h2>\n\n\n\n

Sur une acoustique, la table produit directement le son de l\u2019instrument, c\u2019est l\u2019\u00e9quivalent du haut-parleur sur un ampli. Elle est donc responsable d\u2019une grande partie du r\u00e9sultat final. Pour se faire une id\u00e9e de l\u2019influence de l\u2019essence choisie, on mesure g\u00e9n\u00e9ralement la rigidit\u00e9, la densit\u00e9 et l\u2019amortissement du bois. Ces chiffres donnent d\u00e9j\u00e0 un aper\u00e7u de ce \u00e0 quoi on pourra s\u2019attendre une fois la guitare mont\u00e9e, sachant bien s\u00fbr que chaque morceau de bois a sa personnalit\u00e9 propre, et que le choix du barrage est aussi tr\u00e8s important. Par ailleurs, certains instruments \u00e0 bas prix font appel \u00e0 des bois lamin\u00e9s plut\u00f4t qu\u2019\u00e0 des essences massives, ce qui minimise aussi l\u2019incidence du bois d\u2019origine et donne plus d\u2019importance au processus industriel qui a \u00e9t\u00e9 choisi.<\/p>\n\n\n

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Harley Benton<\/p>\n

CLF-50E Anthrazit Metallic<\/h3>\n <\/span>\n\n
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Gibson<\/p>\n

L-00 Special Satin Ebony<\/h3>\n <\/span>\n\n
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Yamaha<\/p>\n

FG9 MX<\/h3>\n <\/span>\n\n
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Cort<\/p>\n

Flow OC Natural Satin<\/h3>\n <\/span>\n\n
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Pour la table, l\u2019\u00e9pic\u00e9a Sitka est de loin l\u2019essence la plus r\u00e9pandue. Son excellent rapport rigidit\u00e9 \/ l\u00e9g\u00e8ret\u00e9 en fait un haut-parleur id\u00e9al, et on la retrouve donc \u00e0 la fois sur l\u2019entr\u00e9e de gamme Harley Benton CLF-50 que sur une belle Gibson L-00. L\u2019\u00e9pic\u00e9a Adirondack est plus rare que le Sitka, et son c\u00f4t\u00e9 un peu moins dense lui donne une richesse harmonique tr\u00e8s pris\u00e9e. On le retrouve g\u00e9n\u00e9ralement sur des mod\u00e8les tr\u00e8s haut de gamme comme la Yamaha FG9 MX. On peut aussi trouver du c\u00e8dre, qui est plus fragile que l\u2019\u00e9pic\u00e9a mais pr\u00e9sente une attaque plus imm\u00e9diate et n\u2019a pas besoin de p\u00e9riode de vieillissement pour donner son meilleur. C\u2019est par exemple le choix qui a \u00e9t\u00e9 fait pour la Cort Flow OC. Enfin, on trouve aussi des acoustiques avec une table en acajou, un bois plus dense que l\u2019\u00e9pic\u00e9a qui att\u00e9nue les aigus et donne donc un son tr\u00e8s centr\u00e9 sur les fondamentales. Le r\u00e9sultat est moins riche et raffin\u00e9, mais il sera parfait pour un rendu chaud et rauque, comme sur la Martin 00-15M.<\/p>\n\n\n

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Martin Guitar<\/p>\n

00-15M<\/h3>\n <\/span>\n\n
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Martin Guitar<\/p>\n

D18 Satin<\/h3>\n <\/span>\n\n
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Martin Guitar<\/p>\n

D28<\/h3>\n <\/span>\n\n
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Gibson<\/p>\n

SJ-200 Original VS<\/h3>\n <\/span>\n\n
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Le bois du corps a aussi son importance, et on trouve essentiellement deux \u00e9coles : acajou ou palissandre, D-18 ou D-28 chez Martin. La densit\u00e9 sup\u00e9rieure du palissandre donne un son plus riche harmoniquement, plus creus\u00e9 dans les m\u00e9diums (ce qui met en valeur les graves et les aigus). De son c\u00f4t\u00e9, l\u2019acajou aura un son plus chaud et plus marqu\u00e9 dans les m\u00e9diums. Mais certaines acoustiques ont aussi un corps en \u00e9rable, comme la Gibson SJ-200 : ce bois est l\u2019oppos\u00e9 de l\u2019acajou en cela qu\u2019il a tr\u00e8s peu d\u2019att\u00e9nuation des aigus, et c\u2019est donc l\u2019id\u00e9al pour ne pas avoir des graves trop envahissants sur une guitare massive comme les Super Jumbo de la marque de Nashville.<\/p>\n\n\n\n

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Vous \u00eates actuellement en train de consulter le contenu d’un espace r\u00e9serv\u00e9 de YouTube<\/strong>. Pour acc\u00e9der au contenu r\u00e9el, cliquez sur le bouton ci-dessous. Veuillez noter que ce faisant, des donn\u00e9es seront partag\u00e9es avec des providers tiers.<\/p> Plus d’informations<\/a> <\/div>

D\u00e9bloquer ce contenu<\/a> Accepter le service requis et d\u00e9bloquer son contenu<\/a> <\/div> <\/div> <\/div><\/div>\n<\/div><\/figure>\n\n\n\n

<\/a>Les bois de l\u2019\u00e9lectrique<\/strong><\/h2>\n\n\n\n

Pour l\u2019\u00e9lectrique, on a deux grandes logiques qui s\u2019affrontent : le mod\u00e8le Gibson d\u2019un c\u00f4t\u00e9, avec manche coll\u00e9, diapason court et acajou, le mod\u00e8le Fender de l\u2019autre, avec manche viss\u00e9, diapason long et aulne. Si l\u2019on prend par exemple une Fender Player II Strat RW, le corps en aulne va donner une attaque plus rapide et un son plus brillant, ce en quoi l\u2019alliance avec le manche viss\u00e9 en \u00e9rable est tout \u00e0 fait coh\u00e9rente. Cette version a une touche en palissandre qui va amener un peu de chaleur et un toucher un peu plus doux, mais elle existe aussi avec une touche \u00e9rable, la Fender Player II Strat MN, pour une attaque plus imm\u00e9diate. C\u00f4t\u00e9 Telecaster, les premiers mod\u00e8les faisaient appel \u00e0 du fr\u00eane, un bois au son encore plus brillant que l\u2019aulne, et on retrouve cette essence bien typ\u00e9e vintage sur certains mod\u00e8les comme la Fender Player II Tele MN BTB.<\/p>\n\n\n

\n \n
\n
\n
\n
\n
\n \"Player\n <\/div>\n\n
\n\n
\n\n \n

Fender<\/p>\n

Player II Strat RW 3TS<\/h3>\n <\/span>\n\n
\n Note : 8.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (11)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 799 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Player\n <\/div>\n\n
\n\n
\n\n \n

Fender<\/p>\n

Player II Strat MN PWT<\/h3>\n <\/span>\n\n
\n Note : 10.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (3)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 799 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Player\n <\/div>\n\n
\n\n
\n\n \n

Fender<\/p>\n

Player II Tele MN BTB<\/h3>\n <\/span>\n\n
\n Note : 8.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (10)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 815 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"SG\n <\/div>\n\n
\n\n
\n\n \n

Gibson<\/p>\n

SG Standard HC<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (64)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 1\u00a0479 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Les\n <\/div>\n\n
\n\n
\n\n \n

Gibson<\/p>\n

Les Paul Standard 60s BB<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (99)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 2\u00a0499 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"SE\n <\/div>\n\n
\n\n
\n\n \n

PRS<\/p>\n

SE Ed Sheeran Cosmic Splash<\/h3>\n <\/span>\n\n
\n Note : 10.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (2)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 1\u00a0759 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"McCarty\n <\/div>\n\n
\n\n
\n\n \n

PRS<\/p>\n

McCarty 594 Mango LTD BGB<\/h3>\n <\/span>\n\n
\n Note : 0 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n <\/div>\n<\/div>\n\n
\n \n 5\u00a0999 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n
\n \n \n \n<\/svg>\n\n <\/div>\n <\/div>\n
\n \n \n \n<\/svg>\n\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n\n\n

Sur la Gibson SG Standard au contraire, on a un corps en acajou et un manche en acajou, ce qui assure une att\u00e9nuation maximale des aigus : l\u2019attaque sera donc plus douce, et le son g\u00e9n\u00e9ral plus chaud et rond. Sur une Gibson Les Paul Standard 60s, la recette reste la m\u00eame mais la table en \u00e9rable qui surmonte le corps en acajou n\u2019est pas uniquement esth\u00e9tique : elle va ramener un peu de brillance et une attaque un peu plus rapide. Sur la PRS SE Ed Sheeran, le corps est en acajou mais le manche est en \u00e9rable pour une attaque plus pr\u00e9cise, logique vu qu\u2019il s\u2019agit d\u2019une baritone et que la d\u00e9finition des notes devient particuli\u00e8rement critique lorsque l\u2019on baisse son accordage.<\/p>\n\n\n\n

Enfin, certaines marques comme PRS font souvent appel \u00e0 des essences exotiques, mais il s\u2019agit plus souvent d\u2019un argument esth\u00e9tique que sonore, comme sur la superbe PRS McCarty 594 Mango et sa table en manguier.<\/p>\n\n\n\n

\n
<\/div>
<\/div>

Vous \u00eates actuellement en train de consulter le contenu d’un espace r\u00e9serv\u00e9 de YouTube<\/strong>. Pour acc\u00e9der au contenu r\u00e9el, cliquez sur le bouton ci-dessous. Veuillez noter que ce faisant, des donn\u00e9es seront partag\u00e9es avec des providers tiers.<\/p> Plus d’informations<\/a> <\/div>

D\u00e9bloquer ce contenu<\/a> Accepter le service requis et d\u00e9bloquer son contenu<\/a> <\/div> <\/div> <\/div><\/div>\n<\/div><\/figure>\n\n\n\n

<\/a>Le tout et la somme des parties<\/strong><\/h2>\n\n\n
\n \n \n \n
\n \n
\n
\n \"Myles\n <\/div>\n <\/div>\n \n \n
\n \n

PRS<\/p>\n

Myles Kennedy Antique White<\/h3>\n <\/span>\n\n
\n Note : 0 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n <\/div>\n<\/div>\n\n
\n \n 3\u00a0299 \u20ac <\/span>\n <\/div>\n\n <\/div>\n
\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n \n <\/div>\n\n\n\n

Tu l\u2019auras compris, chaque \u00e9l\u00e9ment a son importance dans la recette complexe qu\u2019est une guitare. Des d\u00e9tails aussi anodins en apparence que la mati\u00e8re de la touche peuvent sublimer le caract\u00e8re g\u00e9n\u00e9ral d\u2019un instrument ou au contraire le perturber. Et c\u2019est l\u00e0 qu\u2019il faut \u00eatre capable de juger de ses besoins : autrement dit, il n\u2019y a pas de bois qui soit objectivement moins bon ou meilleur qu\u2019un autre, chaque essence a sa personnalit\u00e9 propre qui correspondra plus ou moins \u00e0 ce que tu recherches. Pour jouer de la country, le fr\u00eane des marais de la PRS Myles Kennedy est un classique. <\/p>\n\n\n\n

<\/p>\n\n\n\n

Pour le blues acoustique, un mod\u00e8le tout acajou (ou okoum\u00e9, qui est proche) comme la Gibson LG-2 sera parfait. <\/p>\n\n\n

\n \n \n \n
\n \n
\n
\n \"LG-2\n <\/div>\n <\/div>\n \n \n
\n \n

Gibson<\/p>\n

LG-2 Faded Vintage Sunburst<\/h3>\n <\/span>\n\n
\n Note : 10.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (1)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 1\u00a0999 \u20ac <\/span>\n <\/div>\n\n <\/div>\n
\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n \n <\/div>\n\n\n\n

<\/p>\n\n\n\n

Pour le blues \u00e9lectrique, vous pouvez choisir entre le brillant de l\u2019aulne (ou du peuplier qui a des caract\u00e9ristiques proches) sur une PRS SE Silver Sky et la chaleur de l\u2019acajou sur une Gibson Les Paul Studio. <\/p>\n\n\n

\n \n
\n
\n
\n
\n
\n \"SE\n <\/div>\n\n
\n\n
\n\n \n

PRS<\/p>\n

SE Silver Sky Laurel Green<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (3)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 755 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Les\n <\/div>\n\n
\n\n
\n\n \n

Gibson<\/p>\n

Les Paul Studio CherrySunburst<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (8)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 1\u00a0398 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"Les\n <\/div>\n\n
\n\n
\n\n \n

Gibson<\/p>\n

Les Paul Studio Wine Red<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (9)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 1\u00a0419 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n
\n \n \n \n<\/svg>\n\n <\/div>\n <\/div>\n
\n \n \n \n<\/svg>\n\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n\n\n

Pour le m\u00e9tal, une Epiphone Les Paul Custom permettra d\u2019allier cette chaleur \u00e0 la pr\u00e9cision de note d\u2019une touche en \u00e9b\u00e8ne. Tout d\u00e9pend donc de ce que tu recherches, et pour ne rien arranger, ces recettes th\u00e9oriques peuvent parfois donner des r\u00e9sultats empiriques tr\u00e8s surprenants. Comme toujours, rien ne vaut un test guitare en main !<\/p>\n\n\n\n

\"\"<\/figure>\n
PUBLICIT\u00c9<\/div>
\"\"<\/a><\/div><\/div>","protected":false},"excerpt":{"rendered":"

Et si le bois de ta guitare avait une influence sur le son de celle-ci ? \ud83e\udeb5<\/p>\n","protected":false},"author":76,"featured_media":10015015,"comment_status":"open","ping_status":"0","sticky":false,"template":"","format":"standard","meta":{"tblog_post_audio_url":"","footnotes":""},"categories":[10688],"tags":[],"class_list":["post-10014990","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-inspiration"],"category_colors":{"color_key":"inspire","css_classes":{"text":"cat-inspire","text_light":"cat-inspire-light","bg":"cat-bg-inspire","bg_light":"cat-bg-inspire-light","border":"cat-border-inspire","text_on_bg":"cat-text-on-inspire"}},"reading_time":{"minutes":7,"formatted":"7 min"},"_links":{"self":[{"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/posts\/10014990","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/users\/76"}],"replies":[{"embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/comments?post=10014990"}],"version-history":[{"count":9,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/posts\/10014990\/revisions"}],"predecessor-version":[{"id":10015014,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/posts\/10014990\/revisions\/10015014"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/media\/10015015"}],"wp:attachment":[{"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/media?parent=10014990"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/categories?post=10014990"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/tags?post=10014990"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}