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Pretty sure it's german spruce...but interesting thing I read was that he preferred to split the logs by hand with a hatchet instead of using a machine or pre cut boards.
99.9 % sure of german spruce, maybe even from Germany
quote:
.but interesting thing I read was that he preferred to split the logs by hand with a hatchet instead of using a machine or pre cut boards.
The good old days. Its pretty difficult to buy logs these days. A good cutter will split the logs before cutting. If not, you get to much run out. If you buy wood with to much run out, send it back and find yourself a new and better dealer.
99.9 % sure of german spruce, maybe even from Germany
I think that Anders has summed it up quite nicely.
In North America, Sitka Spruce has a growing range from Northern California thru Canada to the far north of Alaska in altitudes that vary from sea level to 7,000 feet. It is reputed that many depleted forests in Europe have been replanted with Sitka Spruce seedlings or variations of Sitka Spruce.
Quite a few years ago, a luthier (violin) friend of mine was discussing the small stash of hand selected spruce billets ( englemann ) that she purchased at a tone wood auction. She made the comment that it was interesting that the majority of the large lots were being purchased by European wood suppliers.
There are certainly a lot of myths circulating about spruce origins and which is the best kind for flamenco guitars, etc. I've looked at and built with Spruce from a variety of suppliers and with a variety of labels including "German", "European", "Italian", "Carpathian" etc. etc. Also North American varieties like Sitka, Englemann and Adirondack. To me all that matters is the properties of the wood, namely high stiffness and low density. I've found a supplier that sends me what I consider perfect wood for my building and I've invested in a good stash of that. It's purportedly from the dark green area on that map and I guess it stands a good chance of being original "European spruce".
In the 60's, I heard loggers in Oregon referring to a type of cedar as: 'piss cedar'. It wasn't until many years later that I figured out that it was Alaskan Yellow Cedar they were talking about.
There is an old book, called the flameco guitar, from David George, a frend of D.E. Pohren. Written in 1969. There is a long talk,with Manuel Reyes in about guitarbuilding and wood. Here is a page from it.
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Originally published by the Society of Spanish Studies. It is often found in college and public libraries in larger cities. I think Bold Strummer publishing now publishes it. Or if it is out of print again use the ISBN to find it or try to buy it through Alibris.com
ISBN: 9780933224100
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Nick Clarke, The Bold Strummer publisher, is a good friend (and publisher of my book "A New Anthology of Falsetas" and the PJN Publications books -- SHAMELESS PLUG --)
But I digress -- "The Flamenco Guitar" is a lovely poetic, even somewhat archaic book which I am talking with Nick about doing as an eBook -- links to bits of flamenco playing and historical info, higher quality pics, etc. --
The question is: would this be of interest to flamenco people or just another Christmas stocking stuffer (if that)? I need to convince him to allot some, er, resources to this.
There are a couple of other titles in the Bold Strummer line which are terrific flamenco reads and might make similarly good ebooks: "The Flamencos of Cadiz Bay" and "The Wind Cried" -- I would love the foro's feedback on these; perhaps I could send out a couple of freebies and they could be passed around?
There are a couple of other titles in the Bold Strummer line which are terrific flamenco reads and might make similarly good ebooks: "The Flamencos of Cadiz Bay"
One of my favorite books of all time across all genres.
So what is in your anthology of falsetas? I might get interested in the guitar again someday.
Yes, Howson's book is a gem IMO also, a vivid picture not only of the flamenco world at the time, but of Andalucian society and the Spanish personality.
As for my book, "Anthology" is a grandiose word (publisher's prerogative). It is small, containing 32 pretty well known falsetas, 8 each of soleá, alegrías, bulerías and siguiriyas, with some explanatory text and playing tips; comes with a CD -- none of the music is by me. In my mind there are at least half a dozen more volumes planned of course (won't happen).
“The Flamencos of Cadiz Bay” is a superb book, the best I’ve ever read about not just the art of flamenco, but about the life of the people who lived it.
“The Wind Cried” is very good too, but not in the same class as above.
But “The Flamenco Guitar” is a book not to be missed by anyone involved in flamenco. It also has a great interview with Diego del Gastor.
But the interview with Manuel Reyes is a most extraordinary interview, in which Reyes, far from being a simple artisan, proves to be exceptionally erudite and articulate, a cross between a philosopher and a poet.
To give just one example – when asked “What qualities must a great guitarrero possess,” his answer is not something about wood, etc. His answer is “Morality. Integrity. Realism. Humility. Clear Vision. Imagination.”
His views and insights into guitar construction are of great interest to any flamenco guitarist, and the luthiers on this forum would eat it up.
It's interesting in the first excerpt where Reyes says that wood should be aged 5 years (and Barbero had said 3). I agree with that kind of time frame and I'm not totally convinced that aging wood for longer than that has a huge benefit. What's important IMO is procuring exceptional materials and keeping and building with them in a controlled humidity. Lately it seems like there's been a kind of arms race to say "my wood is aged 30 years" "well mine is aged 50 years!" etc. Cool stuff in this thread. I read a couple books by Don Poehren and I found them pretty condescending but I like George's writing a lot.
Also I wonder what is this "lacquer glue" that Reyes uses for finish?
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