Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.
This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.
We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.
|
|
Evaluating wood
|
You are logged in as Guest
|
Users viewing this topic: none
|
|
Login | |
|
Armando
Posts: 302
Joined: May 27 2005
From: Zürich, Switzerland
|
RE: Evaluating wood (in reply to TANúñez)
|
|
|
quote:
Experience will be your teacher. I had the same issues when I first started out but after you get more time with the wood in your hands you start to learn these things. Hi robbie I share the opinion of TANúñez I just like to tell you what experiences i made with this. When i started guitarmaking i purchased only one set for tryal. As you know, the wood sold by most suppliers is green (not cured, sometimes not even dry). As i didn't want to wait several years before to start building, i desided to build my first guitar with this wood. Fortunately the wood was dry enough. The guitar came out well playable and it is still alive, but it could have been easily cracking. So after the first guitar, i realized that guitarmaking is a passion and for sure i'll gona build more. I realized that there are only two ways how i could proceed. 1. Always buy only the wood needed for one or two guitars. 2. Buy a stock of wood and store it. I desided to go for number two. This have cost me a bit more than just a few bucks, but it's absolutely worthwile the investment. Now i have always well cured wood at disposal and it is getting better every year. I have stopped to purchase soundboard material by internet. My experience with this was not positive. When i ordered soundboards they have sent me just anything but not what i really asked for. I believe that it is very important to personally choose the soundboards because then you always know what you are getting. Today i don't mind to travel even to italy to purchase my soundboards directly from the sawmill. When i'm in the sawmill it takes me always at least an hour to select ten soundboards. I have my own way of proofing the quality of the wood. The tonal response is most important to me. I don't care too much about straight grain and annual ring spacing, but whether or not it is a radial cut. Soundboards with runout must be rejected. A soundboard with runout is not only weaker, it is also more likely to warp and it will produce an ugly appearance when joined. Soundboards with an easy visible gluejoint and uneven shine (one side appears to be darker than the other) on either side is typical for soundboards with runout. Most of the soundboards that i have is cut of splited wood, so it has no runout. Now i'm waiting and waiting and waiting and each time i go thru my stock i feel and hear the wood to become more resonant. That's really exiting. regards Armando
_____________________________
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Aug. 30 2009 12:46:08
|
|
New Messages |
No New Messages |
Hot Topic w/ New Messages |
Hot Topic w/o New Messages |
Locked w/ New Messages |
Locked w/o New Messages |
|
Post New Thread
Reply to Message
Post New Poll
Submit Vote
Delete My Own Post
Delete My Own Thread
Rate Posts
|
|
|
Forum Software powered by ASP Playground Advanced Edition 2.0.5
Copyright © 2000 - 2003 ASPPlayground.NET |
0.046875 secs.
|