am a conservationist as well as a user of tropical timber. I see no
conflict, since I am a paying customer of third world products and give
every reason to sustainably harvest their resources. I am concerned,
however, when I find that guitarists only want one timber, regardless
rarity,because it is imagined to possess some legendary sound
quality. No timber is unique nor do guitars
all have to look like clones of each other.
are excellent alternatives to Rio Rosewood and conservation is best served by using
a diversity of species. For this reason I hold a
of timber varieties ~ tropical and temperate ~ for clients
to choose from. I can make a completely non-rainforest guitar
want one. My timber store and workshop are humidity controlled and centrally
heated. Some of my stock was bought from other
makers and is older than my involvement in luthiery. Much of the rest is over 5 years old. Regular
weighings of samples ensure stability is
attained before use in a 45%
RH atmosphere. High quality raw materials carefully nurtured definitely
improve wines and guitars!
grain pattern list
Acacia ~ Acacia spp. ~ flamed
Aruda ~ Swartzia sp.
Avodire ~ Turraenanthus sp. (satinwood pattern)
Cocobolo ~ Dalbergia Retusa
Flamed Mango ~ Mangifera Indica
Imbuya ~ Ocotea Porosa
Lacewood ~ Platanus sp.
Madrona ~ Arbutus Menziessii
Mahogany varieties: ~ Swietenia sp ~ plain or rippled
Maple varieties: ~ Acer sp. ~ plain; flamed; bird’s-eye; lace
Ovangkol ~ Guibourtia Ehie
Padauk ~ Pterocarpus sp.
Palo Escrito ~ Dalbergia paloescrito
Pau Ferro ~ Machaerium Scleroxylon
~ Panopsis sp.
Rosewood varieties: ~ Dalbergia sp. ~ Brazilian; Indian; Madagascar
Wenge ~ Millettia Laurentii