Quote:
Originally Posted by FrankCousins
Hi Bruce,
I was not implying that this was not the case, but by 'attention' I implied selecting the best possible materials to pair with etc. My 'devil's advocate' questioning is driven by a recognition that quality of instrument tone is generally accepted to mostly be influenced by the top, with the back and sides providing 'the flavour'.
Of course we can't escape the issue of cost of this wood due to its scarcity and beauty - as with BRW. I think there are many who would accept the price based on supply and demand, but might question whether its level of premium would be as high if it were simply plain, but exhibiting the same tonal characteristics you describe?
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If there were a single plain mahogany tree that sounded as different from other mahogany trees as "the Tree" does, it would be very difficult to identify it, or notice the pattern since it would be spread across many "users". There is a current marketing program around "Sinker" mahogany, and the differences both visually and sonically are a bit subtle. It would be pretty easy to insert non-sinker mahogany into the mix unnoticed. Not so with the Tree.
As far as premium materials are concerned . . . that's all most of us use, and that is generally truer as we mature. Our ability to recognize the best grows over time, as does our ability to afford it. My materials, for the most part, were graded by the purveyor (if there was one), regraded by myself when I chose them, and then graded again when the customer and I chose them from my stash. This is not just an aesthetic exercise, but also includes the customer's tonal target and my guidance with that target in mind. Nearly every piece of wood I have is the best possible choice depending on targeted function and in some cases, budget.
I mentioned earlier in this thread that I made a Tree guitar, which I judged spectacularly successful, for a customer who found it didn't work for him at all. Different strokes! By the way, that particular customer has ordered more than one guitar from me since, so it probably wasn't my work that didn't please him. Unlike most mahogany guitars in my experience, my Tree guitars are the opposite of dry tone.