Incoming: Sexauer FT-00-JB/2 Kerala

[iim7V7IM7]

Thank you Mick (and Leftyprs)...

You shouldn't be surprised by it's infrequent use as a guitar tonewood. The Brazilian rainforest was denuded of the large trees many years ago by the dye industry. Large trees are considered to be 24"-36" in diameter, so think of quartering those trees and removing the sapwood to make a back set. Brazilian rosewood albeit rare, grows far larger to 36"-48" in diameter so while endangered and over-harvested, it is a larger species. The quartersawn sets of Pernambuco that Bruce (Howard and others) have used in guitars was harvested from enormous trees which were and are extremely rare to find.

As Bruce likes to say, there is a reason that the natives refer to it as "the singing tree". It definitely seems to have its own unique influence on the sound that is no doubt confounded with the rest of the Luthier's instrument's construction. It doesn't have the high frequency shimmer or the euphonic bass coloration that I associate with BRW, but it imparts an articulate and musical overtone to all the registers in a remarkably balanced manner. I notice the linearity of the timbre even when I play my guitar softly. This is no doubt due to the overall instrument, but I suspect it's part of the sonic equation.

You have owned a number of Bruce's (and others as I recall) BRW guitars. What is your take on how it differs from BRW sonically? I am glad to see that the "ex-EXAUER" found a home. I have only heard glowing reviews by those who played that guitar.

[iim7V7IM7]

I am trying to put my finger on describing the enchanting sound of this Pernambuco guitar which is of course confounded with the construction of the guitar in its entirety. I have seen a number posts were people have attempted to describe its sound. There is a balance of volume between the fundamentals and overtones that create the perception of a clear yet complex sound. There is also something about uniformity of how all of the notes sustain and decay that doesn't come off as euphonically colored like rosewoods can (don't get me wrong, this is a pleasing coloration, I am trying to make a distinction). I perceive a neutral clarity like I do with my maple guitars, but with a balanced enrichment of overtones to the notes. I also find that the guitar delivers these timbral riches even when picked, oh-so-gently which is unusual. I think the combination of neutral clarity, the balanced and rich nature of the overtones and the overall responsiveness is how I might describe the sound of Pernambuco.

[Bruce Sexauer]

Of course I have been asked to describe the sound of Pernambuco many times, and I have never felt successful at communicating my perceptions as the character is actually outside the common experience we try to refer to in conversation. It is something else, so I say things like "If there were more Pernambuco guitars it would be the reference point to all other guitar tone conversations", or "It is different enough that at first blush you will miss it entirely, but then it will become your universe". Okay, I never said that before, but it is exactly what I think. One way of looking at it is that it is so unaffected that it can be anything to anyone, the one true voice, it can go where you want to go without bringing along it's own baggage. I think you have to have it to begin to understand, and then good luck getting away. It may not be for everybody, but I can't see why not.

[ChuckS]

I have yet to be able to play one of Bruce's guitars, and I hope I will get that opportunity at some time. So, I don't have experience with his signature tone, or his Pernambuco guitars, but I do have to agree with the builders and owners of guitars using Pernambuco. Their descriptions seem very much in line with my experience with that tonewood.