Name the timber

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Peter Young
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Name the timber

Post by Peter Young » Tue Jul 26, 2011 6:18 pm

Hello all

This is the next 3/4 guitar. Thought you may want to entertain yourselves with some speculation as to species.
Two images ... one is raw timber the other has a coat of shellac.

Tim ..... you are excluded.
DSC01166.jpg
DSC01166.jpg (93.28 KiB) Viewed 9938 times
DSC01167.jpg
DSC01167.jpg (73.76 KiB) Viewed 9938 times
No prize ... only the adulation of your luthier peers for your ligneous perspicasity ....

Regards Peter
In pursuit of the lies & lore of lutherie

DennisK
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Re: Name the timber

Post by DennisK » Tue Jul 26, 2011 8:21 pm

Some kind of eucalyptus? E. globulus, perhaps?

vandenboom
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Re: Name the timber

Post by vandenboom » Thu Jul 28, 2011 1:30 am

Peter - haven't a clue about the wood, but curious about the headblock. Is there a separate piece glued to the front of the block or is just the light? If the former, I would be interested to know why - can't see that endgrain is the explanation in this case.
Frank

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Peter Young
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Re: Name the timber

Post by Peter Young » Thu Jul 28, 2011 9:51 am

Close Dennis

It is some sugar gum we picked up near by in Denmark (WA).
A lot of farmers planted it in the west when they were opening up farm land.
It is very dense and hard .... even more so than wandoo.

http://en.wikipedia.org/wiki/Eucalyptus_cladocalyx


Frank ..... The neck block has a separate piece at the front. It is to add some strength by crossing the grain of the two .... like ply wood.


Cheers
Peter
In pursuit of the lies & lore of lutherie

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Kim
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Re: Name the timber

Post by Kim » Fri Jul 29, 2011 9:47 am

Pete,

That is going to be another great looking guitar, the ray and fleck effect across the back plates should look great under a finish.

Sometimes I lament the fact that Australia is quite short of dark coloured timbers that grow large enough to be resawn for two piece backs. But when you see the figure produced by some of these lighter coloured woods, it is difficult not to accept that we have been dealt a more than fair hand for our choice in wood bling, especially when you consider that dark coloured wood cannot refract light so well, so even when heavily figured, a lot of its visual impact is lost.

On the topic of aussie tonewood, it seems to me that when compared to forest conditions on a global scale, even our better regions have quite poor soils and limited, or less than regular rain fall. This would explain the slow growth of many of the species in this country. I imagine that in general terms, when considering how wood is formed, the 'number' of wood cells produced each season probably remains much the same within tree types no matter where they are grown. (By tree types I am suggesting those groups of plants which produce a similar 'wood structure' when grown under the same conditions rather than those grouped into species by leaf, flower and reproduction form as is the norm)

I speculate that what we see happen with the slower growth within tree types when conditions become less than ideal, is that 'smaller' more compact cells are produced rather than less cells, and these small compact cells are a mechanism of adaptation which assist in moisture and nutrient retention allowing these plant to survive where they probably should not. This probably explains why we have such an abundance of quite heavy, dense, and truly 'hard' woods in this country, and although it was a long way to get there, and delivery came with a few shovel fulls of unscientific speculation, I am suggesting that those properties do seem just the ticket to produce buckets loads of the 'boing' factor that makes many of these Australian natives very good tonewoods indeed. 8)

Cheers

Kim

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Peter Young
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Re: Name the timber

Post by Peter Young » Fri Jul 29, 2011 11:36 am

Thanks Kim .... interesting speculation and I agree we are blessed.

I have to comment that all the sheoak I have used to date has great "tap tone". The blue gum guitar I made had tap tone in line with well grown cereal packet .... sort of dull and flat or low with little sustain. However, the finished guitar sounds fine once everything was joined up .... it is the one you played at John Maddisons.

So ..... I wonder still about the merits of resonance in the back and sides Vs top being the main issue. Also, this guitar will be heavy. The thing I am concentrating on in my builds now (the improvement cycle for me) is weight balance of neck to body etc.

I wonder if you can link figure Vs straight grain in a particular timber to "resonance" or sound "reflectivity"? What about medullary influence? Are there any studies out there?
Mind you, what is plain sheoak?

Regards Peter
In pursuit of the lies & lore of lutherie

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Daniel_M
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Re: Name the timber

Post by Daniel_M » Tue Aug 02, 2011 12:59 pm

Hi Peter,

just a quick question, what are you using for your bracing?

thanks,

Daniel.

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Dominic
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Re: Name the timber

Post by Dominic » Tue Aug 02, 2011 1:40 pm

Peter Young wrote: I have to comment that all the sheoak I have used to date has great "tap tone". The blue gum guitar I made had tap tone in line with well grown cereal packet .... sort of dull and flat or low with little sustain. However, the finished guitar sounds fine once everything was joined up .... it is the one you played at John Maddisons.

So ..... I wonder still about the merits of resonance in the back and sides Vs top being the main issue. Also, this guitar will be heavy. The thing I am concentrating on in my builds now (the improvement cycle for me) is weight balance of neck to body etc.


Regards Peter
I agree, I made a guitar with a huon pine back and as a free plate it sounded like cardboard but the finished guitar was by far one of my best sounding. I wonder whether it is as simple as saying use this B&S wood and the guitar will sound like X - is it really the wood or is it the hundreds of small differences between braced tops.

Dom
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but you can't bomb the world to peace!

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Peter Young
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Re: Name the timber

Post by Peter Young » Tue Aug 02, 2011 5:38 pm

Daniel ....
The braces are sugar gum. A couple of us in Albany are using the same or similar timber mainly for look. Weight may be an issue for some builders but I like the idea of the braces not standing out as spruce etc. will. Also, I re position the back brace on these small guitars so that they do not run directly under the sound hole.
Save your spruce for the top ....

Dom .... how heavy was your huon pine guitar? Classical or steel?
How was the body / neck balance?

Cheers Peter
In pursuit of the lies & lore of lutherie

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Dominic
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Re: Name the timber

Post by Dominic » Tue Aug 02, 2011 10:49 pm

Hi Pete, steel string guitar. The huon pine was beautifully straight and quartered and was lighter than a rosewood back. The balance was strange because my mate sent me the wood and included a piece of highly figured marri for the neck which made it slightly neck heavy. But not overly so.
I have enough huon to make 2 more guitars and it such lovely wood to work with. I think a classical next time.
Cheers
Dom
You can bomb the world to pieces,
but you can't bomb the world to peace!

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