My first contact with the Honduran rosewood (Dalbergia stevensoni) dates back almost to my beginnings around 1981 during a visit to a dealer (Gurian) in West Swanzey, New Hampshire. I bought then the only set available, and built a guitar that was sold to an Italian student at the Conservatoire of Nice during a trip in 1983.
Thereafter, from 1986 I primarily used this wood for my guitars. It is a variety that I particularly like for the body as a substitute for “Jacaranda”. This wood is very stiff, with a voluminous resonance, and generally having greater density than the “Jacaranda” (Dalbergia nigra) or Indian (Dalbergia latifolia). His capacity to “push” the sound in a concert hall is in my opinion unmatched using traditional making approach.
My sides are laminated in the manner of Friederich and Ramirez III, and cedro or mahogany makes up the 2nd layer of the core. Over time I also used cherry, maple and yellow cedar for that layer. In all cases, it is the search for a specific result according to the other parts of the body that determines my choice.
For recording, especially with “young” guitars, and more over using spruce top, Honduran rosewood will require experienced approach if the recording room is small. In a hall with the appropriate and well positioned microphones, the result should be up to the expectations.
However, I am still interested to work with some of the other common species.

Palissandre du Honduras