Alternative Tonewoods: Rescuing Colombia’s Native Woods

When exploring alternative tonewoods, string players are traditionally taught to treat old European woods like sacred text. We look at centuries-old Italian masterpieces and think, that is the only way a violin can truly sing. But as a luthier and violinist, I’ve always believed that the soul of an instrument isn’t trapped in a specific geography—it’s found in the craftsmanship, the physics, and the willingness to experiment.

Recently, I came across the incredible work of William Solórzano, a master luthier and violinist based in Cartagena de Indias, Colombia. William is doing something truly radical: he is taking regional woods typically reserved for everyday carpentry and heavy construction, and transforming them into concert-level fine art.

I wanted to dive deep into his process, his philosophy, and the acoustics behind his instruments. Here is our conversation.

Custom-built traditional and contemporary alternative wood finishes side-by-side.

The Interview: Felix Perez-Cuza (Luthier on Call) x William Solórzano

Felix: William, brother, welcome. As a fellow luthier, I am completely fascinated by your approach. The string instrument world is famously traditional, yet you are intentionally stepping away from classic European spruce and maple. What sparked this journey for you?

William: Thank you, Felix. It’s an honor to connect with you. For me, this journey started back in 2011. I began completely self-taught, just adjusting and setting up my own violins while pursuing my professional degree as a classical violinist.

Living and studying in Cartagena, I felt a profound connection to my territory—its natural beauty, its identity, and its resources. I looked around and realized that the wood surrounding us has an extraordinary acoustic and artistic potential that completely goes unnoticed. I wanted to break the mold and prove that a territory can develop its own unique, authentic sonic identity.

Felix: That resonates with me deeply. In my shop at Luthier on Call, I see how shifting climates and over-harvesting are making traditional woods harder to come by. But what really blows my mind about your project, “Violín de mi tierra” (Violin of my Land), is the specific woods you chose. Tell us about them.

William: The “Violín de mi tierra” concept was actually an artistic vision I developed in my head years before I even carved the first shaving of wood. It’s a full-sized 4/4 violin built using Cedro Rosado (Pink Cedar) and Roble Flor Morado (Purple Flower Oak). These are species native to the Colombian Caribbean.

Normally, people look at these species and think of domestic carpentry, structural beams, or basic furniture. They view them as mundane utility woods. My goal was to rescue these materials—using both commercially selected pieces and entirely recovered, upcycled wood—to show that with the right graduation and structural understanding, they can produce breathtaking aesthetic and acoustic results.

raw, unvarnished carved violin scroll

Felix: That is pure alchemy—taking wood meant for a house frame or a table and making it sing. From a sound experimentation standpoint, how do these woods behave structurally compared to traditional spruce or maple? Did you have to alter your carving thicknesses?

William: Absolutely. Every wood species has its own density, weight, and modulus of elasticity. You cannot carve Pink Cedar using a standard Stradivari template and expect it to project properly. You have to listen to the wood.

By experimenting with the graduation of the top and back plates, I was able to balance the structural flexibility and stability. My goal isn’t to copy the sound of a European violin; it’s to expand the contemporary tonal palette. Currently, I’m building seven violins of various sizes, alongside plans for a viola and a cello. Each one uses different combinations of regional recovered woods to push those boundaries even further.

Finished, varnished violin back 

Felix: I love that. It reminds us that a violin isn’t just a museum piece—it’s a living, breathing acoustic puzzle. Whether a player is using one of your custom regional masterpieces or a 100-year-old traditional instrument, the ultimate key to unlocking that unique voice always comes down to the setup and tonal optimization.

William: Exactly! You can have the most exotic wood or the most perfect varnish, but if the bridge isn’t perfectly carved, or if the soundpost is out of alignment by half a millimeter, the instrument’s true voice is completely suffocated. The setup bridges the gap between the luthier’s raw material and the musician’s hands.

William Solórzano unlocking the Soul of his new creation 

Is Your Instrument Reaching Its True Potential?

💡 A Note from Felix: William’s brilliant work proves that incredible sound comes from precision, optimization, and understanding the unique properties of wood. Most violins, violas, and cellos are operating at only 70% of their actual capacity due to poor factory setups, shifting South Florida humidity, or warped components.

Precision fitting at the bridge and soundpost turns an ordinary instrument into a brilliant storyteller. If you want to learn more about sustainable lutherie and proper violin setup techniques, understanding the balance between instrument optimization and modern violin making is essential for any modern musician or builder. Therefore, you should subscribe to my blog today to receive my latest workshop insights.

Whether you are looking to explore alternative custom setups, need an expert tonal optimization, or want to restore your current instrument to its absolute peak performance, let’s get your instrument sounding the way it was truly meant to.

 Got questions about your setup? WhatsApp ME at +1 (954) 371-9038 for quick, personalized advice or to book an evaluation at Luthier on Call.

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Follow William’s Workshop Journey: Keep up with his latest acoustic experiments and regional wood builds by following his official social media channels on Instagram, Facebook, TikTok, and YouTube.

Scientific & Peer-Reviewed References on Alternative Tonewoods

For those who want to dive deeper into the physics, material sciences, and acoustic mobility studies backing up contemporary sustainable lutherie, explore these peer-reviewed studies:

1. González, J. A., & Moore, T. R. (2015). Evaluation of Guitars and Violins Made using Alternative Woods through Mobility Measurements. Archives of Acoustics, 40(2), 205–214.
   • This study analyzes the mechanical and vibrational mobility of stringed instruments constructed from non-traditional, regional woods, demonstrating they can match or exceed traditional performance characteristics.
2. Maddox, G., & Turner, J. (2021). An African violin – The feasibility of using indigenous wood from southern Africa as tonewood. South African Journal of Science, 117(5/6).
   • A closer look at how non-European hardwoods possess excellent internal damping and radiation ratios, making them highly viable for premium instrument construction.
3. Longui, E. L., de Lima, I. L., et al. (2014). Woods with physical, mechanical and acoustic properties similar to those of Caesalpinia echinata have high potential as alternative woods for bow makers. Cerne, 20(3), 369-376.