#1
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Why Can't We Get Some New Good Quality Brazilian Rosewood?
I mean there's still a decent amount of Brazilian Rosewood left - 7% or so of the remaining forests of what used to be. It's valued enough that Brazil could probably get $100,000 a tree. In addition, it would probably only take a hundred trees over about a ten year period to satiate the higher end guitar market. One hundred trees over ten years isn't really that much in the scheme of things... and the trees could be sold for close to 10 million. Seems like it could work under the right circumstances. Thoughts?
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Guitars by... Mossman - Martin - Taylor - Åstrand - PRS - Collings |
#2
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Who is in charge of allotting the 100 trees? How many would Martin get? Gibson? Collings? All the rest?
What if the furniture industry wants 100 trees? What about the luxury automobile industry? What about the picture framing industry? What about any other industry? Why should the guitar industry, to the exclusion of other industries, be allowed to do this? Or are you saying that other industries should be allowed to have 100 trees, also? A better question might be, "why do we need guitars made from recently harvested BRW"? What about ivory and tortoise shell? There are some animals that die of natural causes every year. Why can't that be allotted? Last edited by loco gringo; 01-13-2021 at 07:50 PM. |
#3
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What about all the other people who want to use “just a little” Brazilian rosewood for their pet uses (furniture or wooden bowls or statues or whatever)? How do we convince them that we should be permitted to use some, but they should not be given the same opportunity? And if everyone is allowed an exemption, wont that seriously compromise the Brazilian rosewood that is still extant?
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#4
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I'll buy in if the remaining African elephants are slaughtered for fret markers.
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I don't have a bunch of guitars because they all sound just like me. 1984 Carvin LB-40 bass 1986 Carvin DC-125 two humbucker 1996 Taylor 412 La Patrie Concert 2012 American Standard Telecaster 1981 Carvin DC 100 Harley Benton LP JR DC Bushman Delta Frost & Suzuki harmonicas Artley flute Six-plus decade old vocal apparatus |
#5
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I mean I haven't heard much talk of BRW being the holy grail for anything but guitars. So why not share a little of the best for the best...
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Guitars by... Mossman - Martin - Taylor - Åstrand - PRS - Collings |
#6
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I am not one who believes it is the holy grail of guitar wood. I'm not against the use of existing stock to make guitars, but it isn't something I would seek out. Last edited by loco gringo; 01-13-2021 at 08:33 PM. |
#7
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Quote:
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#8
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Funny, I wouldn't call 7% of what used to be in forests a decent amount. I'd call that endangered.
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-Gordon 1978 Larrivee L-26 cutaway 1988 Larrivee L-28 cutaway 2006 Larrivee L03-R 2009 Larrivee LV03-R 2016 Irvin SJ cutaway 2020 Irvin SJ cutaway (build thread) K+K, Dazzo, Schatten/ToneDexter Notable Journey website Facebook page Where the spirit does not work with the hand, there is no art. - Leonardo Da Vinci |
#9
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I need some more whale oil for my lantern too.
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Brucebubs 1972 - Takamine D-70 2014 - Alvarez ABT60 Baritone 2015 - Kittis RBJ-195 Jumbo 2012 - Dan Dubowski#61 2018 - Rickenbacker 4003 Fireglo 2020 - Gibson Custom Shop Historic 1957 SJ-200 2021 - Epiphone 'IBG' Hummingbird |
#10
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This is a very complicated issue.
I had a student at one time who owned a large tract of forest in the area where BRW grows. He very much wanted to manage it for sustainable wood harvest; he could have made a decent living and preserved the ecosystem. He was not allowed to. Cutting trees was forbidden. If they caught you with the wood it was confiscated, only to show up later in the hands of one of the old line logging firms, where you could buy it back. You could not clear land for agriculture, but if a tract of forest caught fire from, say, lightening, you could farm it afterward. I have seen pictures of one of these 'lightening strike' areas, with stumps about three feet tall and flat on the top. The 'lightening', I was told, comes from the local gas station in five gallon cans. When it's the only way you're allowed to make a living from your land there's not much choice. I understand that Brazil has done much better since, although from what I've seen in the news they may have been back sliding of late. It's a classic 'tragedy of the commons', exacerbated, as is often the case, by poorly thought out laws, badly enforced, and circumvented by corruption. It's a difficult trap to escape from, even in the best of circumstances: see Ostrom's 'Managing the Commons' for more. |
#11
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I tried really hard to come up with something that wouln't sound like preaching to respond with, but I couldn't. I guess all I can add is that I own, and have played many guitars that sound amazing, look great, and to the best of my knowledge, haven't endangered any living species and are sustainable. I'm happy with that.
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#12
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7% is next to nothing when you take into account the damage that has already been done to the entire ecosystem. It is unknown how many species of plants and animals have been permanently lost. The sad news is that these small tracks of remaining forest will continue to shrink in size due to what Alan Carruth has pointed out in his post. Tommy |
#13
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I have little interest in having BRW and it's not just the expense for so little gain (if any). I just would feel uncomfortable. Even if I knew my BRW was fully legal, but using it in public I'd be promoting it's use. That said, I do have a 1920's mandolin with BRW...
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The Bard Rocks Fay OM Sinker Redwood/Tiger Myrtle Sexauer L00 Adk/Magnolia For Sale Hatcher Jumbo Bearclaw/"Bacon" Padauk Goodall Jumbo POC/flamed Mahogany Appollonio 12 POC/Myrtle MJ Franks Resonator, all Australian Blackwood Blackbird "Lucky 13" - carbon fiber '31 National Duolian + many other stringed instruments. |
#14
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Gibson, I believe, has already been investigated for buying restricted woods even though it was stated that they knew from on-site visits that they couldn't guarantee its legality. Martin has just launched its new "eco" model, sort of ignoring that they can proudly verify the provenance of the wood used only on 2 of their wide range of catalogue models at present. Taylor? Well at least they are making an effort. Eastman? No chance of verifying anything there! And we know that potentially 80% of the African mahogany on the market (most going to China) is from dubious sources. Nope, I can't see any one in an authority position trusting the guitar industry to manage the remaining BRW stocks!!!! But then there is Godin who, completely by accident rather than design, have ended up ahead of the game by using 95% Canadian woods (at least on the budget guitars), collecting fallen not felled trees for the tops (under a strict Canadian Gov licence system), and making plywood from local cherry and maple for the backs and sides (thus using smaller, fast growing species and, by rotary cutting for plywood, getting up to 20 times more usable board from each tree compared to quarter sawing backs and sides). So perhaps there is some hope we may be getting the message. At least as consumers we are discussing the issue now - it is not something I would have thought about a few years ago.
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I'm learning to flatpick and fingerpick guitar to accompany songs. I've played and studied traditional noter/drone mountain dulcimer for many years. And I used to play dobro in a bluegrass band. Last edited by Robin, Wales; 01-14-2021 at 08:51 AM. |
#15
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Waiting...waiting...waiting...
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"Mistaking silence for weakness and contempt for fear is the final, fatal error of a fool" - Sicilian proverb (paraphrased) |