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If it's not too much trouble, could you post some pictures of the back and sides? Looking through the soundhole, it looks like they might be Brazilian RW, which could support my theory. Also, I just want to see more pictures of this guitar. It's Sharpie-doo!
Like I said before, the book he wrote should address this (if anyone has it or wants to bother Brune about it). My feeling is, sure he could have died this wood on bridge and faceplate, But why leave outliers un stained? (Cocobolo example). And why would Cleveland book point out the ebony bridge if it was only a conjecture Do to color? I felt he is carving into very hard substance deliberately, and Cleveland book points this guy as a unique case. But I admit it is this Cleveland book that is the basis for my own bias that could be wrong.
My feeling is, sure he could have died this wood on bridge and faceplate, But why leave outliers un stained? (Cocobolo example).
I don't think he would have dyed the wood. It would be nice to see his book, I hadn't realized he'd written one but, now that I look again, it is mentioned in the Cleveland book's description of his guitar. It's certainly not out of the question that he used ebony, that's for sure.
Well Richard Brune got back to me. In his book he generally advocates yacaranda Aka Brazilian rosewood, for bridges. However, Brune has in fact seen ebony used, and thinks my Guitar could be Nigerian ebony which is compact Like boxwood. These two are Brazilian
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I’m on the fence, it could be dark rosewood, which definitely exists, or it could be some presumably less dense ebony.
For a real analysis there are two options:
1. Ship this guitar to me for my free of charge 3 year wood evaluation and quarantine regimen in which I play the guitar everyday in an effort to determine the wood species.
2. Drill out a 1” diameter core sample of each type of dark wood- on the headstock, fingerboard and bridge - and send them to me to submit to a secret Japanese testing facility for wood identification.
We’ll get to the bottom of this one way or another.
Thanks for posting this! I've saved myself a copy, this is a great book to have in the library. Lots of interesting information inside.
On page 62 he writes, "We will build the bridges according to the measurements given in their corresponding drawings. This very fundamental piece of the guitar will always be made of Rio yacaranda wood, which is the one which gives the best resonance."
Which doesn't exclude the possibility that he experimented with ebony, but it's more likely he had some nice black Brazilian at hand and used that. He was working in pre-convention times, so the stuff was available. If I had to bet, I'd put my money on Rosewood.
I prefer my flamenco guitar spicy, doesn't have to be fast, should have some meat on the bones, can be raw or well done, as long as it doesn't sound like it's turning green on an elevator floor.
El Rubio called them “furnature guitars” when I brought it up the other day 😂
That being says, anyone seen a photo of the peg head drawing I posted upthread, have a link, or?
HR
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I prefer my flamenco guitar spicy, doesn't have to be fast, should have some meat on the bones, can be raw or well done, as long as it doesn't sound like it's turning green on an elevator floor.
Yeah, I've been intrigued about his work ever since I saw the pictures in the Cleveland book. Ricardo is very fortunate to have an example.
Lucky if you like ghay art deco guitars 😂
you should see my hot pink Ibanez/epiphone.
It’s not Gay-a-licious if it doesn’t have a silver glitter pick guard. It’s only Barbie if it’s straight up pink.
HR
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I prefer my flamenco guitar spicy, doesn't have to be fast, should have some meat on the bones, can be raw or well done, as long as it doesn't sound like it's turning green on an elevator floor.
El Rubio called them “furnature guitars” when I brought it up the other day 😂
I admit I was into the look of the guitar at first, until I saw/heard a video of Manolo Sanlucar playing Taranta on one, and finally got to try one. The sound is really good, and rather unique for its bright treble response, almost glassy but somehow not obnoxious. These guys Randy Roads, Sanlucar, Manolo Franco, are not going for a guitar like this due to its looks:
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