#31
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Of all the sets mentioned that I have in stock as far as tap is concerned the Wenge is the most impressive to me. It sounds like you are tapping on glass and it rings like a bell. The BRW does the same. Having said that though, I don't really know how that translates to a finished guitar. I've made quite a few guitars out of White Oak too and the back sets don't really tap all that well but makes a great guitar none the less.
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#32
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#33
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I found that also with the Black Locust I am building. I got the wood just to get the feel of a ringy wood. Once the braces were on it it settled down some. For example, tapping the back of the BL and a Walnut back the BL does ring a little longer but not enough for you to say 'wow'. Part of what happens is the top and the back couples together and it does not matter if the top or the back is the one that was excited. In my mind a back will ring more with a top that is braced more free to resonate and a top resonate more with a back that is freer.
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Fred |
#34
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Hope this is of some help to the OP.
Sometimes numbers can be of use. It was for me when I was deciding on a Wood choice, that I could not audition, for my next guitar(like yourself). Numbers are only numbers and not the ultimate tell all. I was fortunately enough to be able to listen via audio samples to confirm what the numbers indicated.The most important number indicator for myself was the Specific Gravity, Janka Hardness and Weight. Here is a little chart: Sorry for the unevenness in spacing. This format changes the spacing. -------------SG --------Janka-----MOR--------MOE--------Crush Str-----wt. Brazilian .68-.85-----2,790-----19,570-----2,020,000----9,790--------52lbs Osage O. .76-.86-----2,620-----18,650----1,689,000-----9,380--------54 Wenge .72-.87-----1,930-----21,990----2,550,000-----11,710------54 E Indian .70-.85-----2,4440----16,590----1,668,000------8,660------52 Janka hardness= how well a wood will withstand dents, dings, based on its Hardness Modulus of Rupture, sometimes referred to as bending strength), is a measure of a specimen’s strength before rupture. Modulus of Elasticity,*measures a wood’s stiffness, and is a good overall indicator of its strength. |
#35
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I have limited experience but am amazed at the tap of Osage Orange. It sounds like a piece of of steel. It is that bright yellow when fresh, but inside of a year it is toned down to a lovely honey color. I have built 2 in this wood and had no trouble finding good stuff. Here is a 13" guitar freshly sanded and finished, with a mahogany neck:
https://www.flickr.com/photos/ruby16...7641029319394/ And less than a year later: https://www.flickr.com/photos/ruby16...7641029319394/ And here is the biggest Osage Orange tree I have seen - I am 6'2" and I figure it is well over 100 feet tall: https://www.flickr.com/photos/ruby16...7641029319394/ Click left and right. Sure wish I could figure out how to post pictures on this site. Ed |
#36
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There's some big OO tree's here in Virginia and I have a local tree worker on the look out for me, among other woods. |
#37
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On Oak.
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Re current project: (right now at least) leaning toward hormigo/granadillo over Wenge & Osage as it would appear to have better sustain and shimmer than the Wenge and Osage, but haven't made any decisions in rock so far.
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12 Fret Tinker Dread 12 Fret EJ Henderson Dread 12 Fret Hotrod Tricone 13 Fret Charis SJ Martin D-41 Halcyon 12 Fret 000 A&L Ami McIlroy A30c Taylor 610 LTD Martin DCPA1 Seagull Original Gretsch White Falcon Epi LP 60's Tribute Plus (Ebony) Epi LP 60's Tribute Plus (HC Burst) Epi Swingster Royale Gibson LP Trad Pro II Godin Exit 22 Last edited by psychojohn; 01-16-2019 at 09:08 AM. |
#38
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I’m sure there will be the tendency to flame this comment, but don’t do so unless you’ve actually played or owned an Indian rosewood and Adirondack guitar built to true pre war Martin specs (ie something like a PreWar Co guitar...NOT a Martin GE or Marquis...). |
#39
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OP: There is no substitute for Brazilian, It has a history, a story and a look. ....Not to mention everyone hears just a little bit with their eyes.
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Bourgeois, Collings, R Taylor, Santa Cruz |
#40
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John
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12 Fret Tinker Dread 12 Fret EJ Henderson Dread 12 Fret Hotrod Tricone 13 Fret Charis SJ Martin D-41 Halcyon 12 Fret 000 A&L Ami McIlroy A30c Taylor 610 LTD Martin DCPA1 Seagull Original Gretsch White Falcon Epi LP 60's Tribute Plus (Ebony) Epi LP 60's Tribute Plus (HC Burst) Epi Swingster Royale Gibson LP Trad Pro II Godin Exit 22 |
#41
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I can't see the back of my guitar when I play it.
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#42
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IMO wood properties set a sort of upper limit to what the guitar may be able to do. Sadly, it's all too easy to make a bad guitar out of fine wood. OTOH, a good maker can make a very nice instrument out of wood that it less stellar.
I will say that I'm liking oak more and more the more I use it. All of the oak guitars I've made have drawn compliments for sound. It's too bad that people still think you can't make a good guitar out of it. At any rate, if I were looking for the closest thing to the sound of BRW without the CITES/Lacey issues I'd go for Osage. |
#43
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#44
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Very Interesting comment on straight grain.
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Thanks John
__________________
12 Fret Tinker Dread 12 Fret EJ Henderson Dread 12 Fret Hotrod Tricone 13 Fret Charis SJ Martin D-41 Halcyon 12 Fret 000 A&L Ami McIlroy A30c Taylor 610 LTD Martin DCPA1 Seagull Original Gretsch White Falcon Epi LP 60's Tribute Plus (Ebony) Epi LP 60's Tribute Plus (HC Burst) Epi Swingster Royale Gibson LP Trad Pro II Godin Exit 22 |
#45
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I have played too many guitars with slab cut or other less than straight-grained Brazilian RW that sounded stellar. And checking tap tones of wood sets blindfolded has taught me that there is little or no correlation between these aspects and the actual sound produced.
You also mention tight grain, like it makes a consistent difference. I have not found that to be an 'etched in stone' rule, either. I am not saying that straight grain is not preferred, both by Martin and many enlightened luthiers (me included). But like I said before, that is because it is both easier to build with and is less likely to warp and crack, particularly if treated badly. That does not automatically translate to better sound, however. |