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The commonly-written theory behind them is that the baking process accelerates the drying out and chemical changes which occur naturally. So, if what the marketing people say about the process is correct, it's simply a short cut along the way to the same destination. In reality, few things are ever that simple - but would the typical player really notice any difference after 10 or 20 years? I doubt it. Hell, I can't say I've noticed much in the way of difference between torrified and non-torrified new guitars hanging on the wall of a shop, never mind 10-year-old ones. I mean the new guitars are all different - they are acoustic guitars and every acoustic guitar is different, and they are mostly different models and body shapes made by different manufacturers - but if there is a night and day difference between torrified and natural, I'm not smart enough to have detected it.
I have sometimes wondered what the long term effects of torrefication will be. It seems unlikely, but wouldn't it be interesting if torrefied tops actually sounded different after 30 years to a 30 year old untorrefied top.
Wouldn't mind a wee pick on a White Rice model.
As I understand it torrefaction was a process using low oxygen steam and a long process. All I tend to see these days is people loading tops into modified commercial kitchen oven basically gas mark 2 for a few hours and calling it done so these tops are baked roasted. So torrefaction that was a technical process is reduced to home cooking. I felt the steam important to help remove some of the chemical rather than baking them in.
As for does it make for better acoustic guitars out the box they sound different is that better if you like the sound yes. If you are a serial flipper and shuffle the deck on a regular basis then it’s saved you Dave Crosby 8 years. But still don’t think just drying wood gives you what 8 years of playing will.
https://youtu.be/sWdMYQk1rPg
I have one of these guitars for recording, sounds great.
Traditionally wood would have been cut and stacked for many years before being used for instrument making, I suppose this practice speeds everything up and saves a lot of money on storage and drying costs.
On the other hand I have a heap of beautifully crafted / voiced guitars made by skilled hands from shelf stacked and properly dried bits of wood, which sound equally as lovely.
Who really knows ?
I suspect that it is one of those many things which form a part of the successful recipe many builders follow, and is equally not a part of the recipe many other successful builders follow. It is perhaps like a tube of burnt umber oil paint - many a successful artist couldn't produce her best work without it, many another doesn't care for it and seldom uses it. Burnt umber paint is thus both an essential and an irrelevance, all depending on who is holding the brush.
My conclusion from this comes down to my "never argue with the chef" rule. If the chef reckons that a dish requires a dash of lemon, that's his business - he's far better qualified to know what works best in his dishes, cooked his way, than I am. And if I don't care for the finished dish, I'm always free to eat somewhere else next time.
I have a guitar on order from a local luthier. Now I really like offset soundholes and believe that they make more sense both structurally and and acoustically than centred ones right in the middle of the weakest part of a guitar body. I daresay Paul would build my new guitar that way if I insisted - but it wouldn't be his best work, and that's the point. I want his best work, and while I'm happy to say what I like and don't like, in the end I have to have the sense to stand back a bit and let him do it his way. If he was a torrified top man (which he isn't), I'd be happy with a torrified top.