#1
|
|||
|
|||
Are some Tonewoods Less Sensitive to Humidity?
Its a pleasant 9% humidity this morning in Southern Arizona....Are there some tonewoods that are not as sensitive to low/high humidity than others?
__________________
Furch Yellow OOM CR DB 12 Fret Martin Norman Blake (ish)12 Fret Collings OOO2H 12 Fret 1982 K. Yairi YW1000 14 fret Breedlove Oregon Concert 14 Fret PRS Ten Top |
#2
|
|||
|
|||
https://www.acousticguitarforum.com/...d.php?t=249272
https://www.acousticguitarforum.com/...d.php?t=564823
__________________
2019 Martin Custom Shop HD-28 (Adi/EIR) 1998 Taylor 914ce (Engelmann/EIR) 1995 Takamine EN10c (cedar/mahogany) 2013 Yamaha FG720S-12 (Sitka/mahogany) |
#3
|
|||
|
|||
short answer: yes, but for all practical purposes, at 9% RH, the minor differences in wood species won't make any difference in the care you'll need to provide.
|
#4
|
||||
|
||||
Also, keep in mind that RH% inside your home is more important than outside RH%. Are you monitoring the humidity inside your home with a decent hygrometer? You can use a humidifier (or less likely, dehumidifier) to help pull up the indoor RH%, as needed, into your optimal range.
__________________
"It's only castles burning." - Neil Young |
#5
|
|||
|
|||
Yes
Tonewood is still a tree. Even after being (kiln- or air-) dried, it is still a living organism, one with a memory. Most of the great tone woods are from topical climates, which is what leads most experts to say that an RH of 45-55% is ideal for guitars. While the new approach of torrefying the wood to stabilize it and accelerate the sonic "patina" can mitigate against the wood's propensity to absorb (or discharge) moisture, the process has as much to do with the volatile elements in the wood (oils, sugars, etc.). A terrified guitar is not "humidity-proof."
If you're serious about your RH being 9% (and you mean inside, not just outside), I can't imagine a tonewood -- even one from an arid climate -- would tolerate that for long. |
#6
|
|||
|
|||
The outside humidity can be very low at certain times of the year. Inside is a bit better, in my house, 40% or so and I have humidifiers in all the cases. There is a professional harpist just down the street and she installed a whole house humidification system.
__________________
Furch Yellow OOM CR DB 12 Fret Martin Norman Blake (ish)12 Fret Collings OOO2H 12 Fret 1982 K. Yairi YW1000 14 fret Breedlove Oregon Concert 14 Fret PRS Ten Top |
#7
|
|||
|
|||
No, just some guitarists.
__________________
McCollum Grand Auditorum Euro Spruce/Brazilian PRS Hollowbody Spruce PRS SC58 Giffin Vikta Gibson Custom Shop ES 335 '59 Historic RI ‘91 Les Paul Standard ‘52 AVRI Tele - Richie Baxt build Fender American Deluxe Tele Fender Fat Strat |
#8
|
|||
|
|||
Quote:
True, some tonewood grew in humid tropical climates, but is that more important that the ambient humidity at which the wood was dried, and the guitar built? In other words, will rosewood timber dried, stacked and built in a country with high humidity be more of a problem if used in a drier country than one both built and played in a country with the same humidity? I've read that 45-55% is ideal because most guitars, at least in the USA, were build at that RH. |
#9
|
|||
|
|||
That is correct - middle of the range, as close as you can get to median if you can’t control where the guitar is going to get shipped. Where the wood is from has no bearing on it.
__________________
More than a few Santa Cruz’s, a few Sexauers, a Patterson, a Larrivee, a Cumpiano, and a Klepper!! |
#10
|
|||
|
|||
Quote:
Quote:
Guitars are more likely crack as they dry and shrink than they are when increasing moisture content and expanding. Guitar makers attempt to chose a humidity level that is a little below the middle of the range that a guitar is intended to live in. It is for that reason that most guitars made in North America are made in the 40% to 45% relative humidity range. In some cases, small makers are willing to tailor the humidity at which they make an instrument to suit a particular climate. |
#11
|
|||
|
|||
Are some Tonewoods Less Sensitive to Humidity?
While there have been many threads on humidity, I haven't seen too many focused on wood itself rather than the humidity. I have read the 2 previous threads mentioned in post #2 by Guilty Spark. Thanks for the extra info sources, by the way. Some responders have distanced laminates from this, which seems fair enough. So consider just solid wood guitars. Somehow the gut reaction is yes, of course. While there may some who know or can calculate the exact effect by type of wood, I'm not one of them. But here's something a little different. I have a few guitars which are solid spruce topped rosewood. Most of them are large sized instruments. During the humid season, usually late summer here, the laminates seem to sound about the same, but the rosewood solids don't sound as consistent as their brethren. And the larger and more lightly built they are, the more off they can sound. Of course this may be just my hearing in the humid conditions, but the smallest rosewood, a Taylor Grand Concert about 15" across the lower bout, actually sounds pretty decent overall, even in high humidity. Say versus a Taylor Grand Orchestra. By the same manufacturer and with the same strings (Elixir PB HD Lights and both fingerpicked). My gut says the Grand Concert sounds more normal, that is, more true to its intended sound. So I'm wondering if the size and build of the body can be a large factor in determining how much it can change and produce some irregular sounds as a result. Just musing aloud. Don .
__________________
*The Heard: 85 Gibson J-200 sitka/rosewood Jumbo 99 Taylor 355 sitka/sapele 12 string Jmbo 06 Alvarez AJ60S englmn/mpl lam med Jmbo 14 Taylor 818e sitka/rosewood Grand Orchestra 05 Taylor 512ce L10 all mahogany Grand Concert 09 Taylor all walnut Jmbo 16 Taylor 412e-R sitka/rw GC 16 Taylor 458e-R s/rw 12 string GO 21 Epiphone IBG J-200 sitka/maple Jmbo 22 Guild F-1512 s/rw 12 string Jmbo Last edited by donlyn; 04-07-2020 at 05:38 PM. |
#12
|
|||
|
|||
Quote:
If you must have wood, consider laminated. It is much less sensitive than solid wood.
__________________
-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 |
#13
|
|||
|
|||
If you have 40 in your house it doesnt matter if there was, and there is, a tonewood that is less sensitive to change and splitting. Just keep it at 40
|
#14
|
|||
|
|||
Yes, there is a difference between various tonewood and how they react to humidity changes. But this, to my knowledge, has not been studied. And I have run across very little anecdotal evidence (opinion). However more than once I have been told that POC* is one of the woods least affected by humidity changes.
* Port Orford Cedar (which, despite the name, is a cypress, not a cedar)
__________________
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. |
#15
|
|||
|
|||
Quote:
Here are a few sources on the web. There are many more: http://www.woodworkdetails.com/knowledge/wood/movement https://www.thisiscarpentry.com/2010...wood-movement/ http://www.workshoppages.com/WS/Arti...ent-Charts.pdf |