So, a guy I know's got a rosewood log....

[Andrew Black]

Sounds like the start of a terrible joke, but it's true. One of my shopmates got given a small rosewood log by an old ex-merchant marine friend of his. It's been sitting in our shop for ten years, and we need to clean house. So I'm appealing to the collective wisdom here as to the best way to deal with this thing. Here's the basics:
- It's 56" tall by 10" diameter (that's heartwood); I'm guessing this is too small to be of use for backs, but maybe sides?
- There is significant end-checking on both ends, so the usable lengths would be reduced some.
- It's positively Brazilian Rosewood. I do furniture restoration, and have handled a fair amount of the stuff. Color, density, smell, it all checks out.
- It's pretty old, having spent at least 30 years here in NYC kicking around various shops (and a foundry too).

So here are my questions - do you builders out there think the log's big enough to be of interest for instruments? If so, who would you recommend I talk to to have it properly resawn? Are guitar blanks sheared, like veneer?

Any input would be appreciated. Thanks.

[Bob Webster]

I'll buy you an ice cream and pay for shipping if you want to send it to me.

Seriously, the best use of a chunk that size would be for bridge blanks. It's too small to get very many decent side sets out of it and of course, backs. Peghead veneers are another possibility but most builders can sneak a pair of pieces out of the waste portions of back blanks to make bookmatched peghead veneers. The real need is for good quality bridge blanks. Classical builders like me are ALWAYS on the lookout for more Brazilian bridge blanks because we just don't know from one guitar to the next whether or not we'll ever be able to find any more.

I'd recommend contacting Tom Braham at Hanover Brazil ([e-mail]). He had a significant stock of Brazilian "pieces" at the last Guild of American Luthiers convention and he could probably give you decent advice and maybe more than an ice cream.

Cheers,
Bob

[Brent Hutto]

Bob,

I've noted that many/most/all of the better classical guitars tend to use Brazilian Rosewood for the bridge even if there's no other Braz. on the instrument at all. My own 70's vintage Japanese guitar included (although perhaps the headstock veneer as well). What is it that makes this such a critical choice of material for classical guitars in particular? A great many builders seem to feel as you do about it.

Obligatory Internet-forum disclaimer: I am not asking this to be argumentative and am perfectly willing to stipulate to the importance of BRW bridges on classical guitars. I honestly want to know why it is so.

[Bob Webster]

Hi, Brett. Brazilian rosewood has a few things going for it. First and foremost is the exceedingly low damping. The input from the strings is most faithfully transmitted to the top because the bridge is not acting as a filter. It shares this characteristic with some of the other rosewoods like Madagascar rosewood and African blackwood, and any other extremely splitty rosewood.

Second is the wood density. It has a lower density than cocobolo, African blackwood, or East Asian rosewood for example. So, for the same bridge geometry, Brazilian rosewood will afford a lighter weight bridge which helps in responsiveness and also in controlling the frequencies of some of the lower vibrational modes of the top.

Third is it's beauty and rarity. Good fine grained Madagascar rosewood satisfies both of the preceding requirements but the blanks that have been availabe tend to be more garish; nothing at all subtle or refined about their looks. Still, it's bound to get more use as getting Brazilian rosewood blanks becomes flat impossible for the average builder.

Cheers,
Bob

[FRANK]

I can cut it I have the biggest saws in Modesto CA 17inch resaw and yes it is big enough to cut and I will cut it for 1/3 of the log my # is 209 595-9221 and my name is Paul Cheers

[Andrew Black]

Great. Thanks for the replies. I'll speak with the log's rightful owner, and email Mr. Braham in the meantime.

Paul, I'll pass on your proposal, but the issue isn't saw capacity - we've got a huge old Faye & Egan that could handle the cut for sure. My main concern here is finding the most efficient (least wasteful?) use for what's become a pretty rare material. And as a (lousy, but committed) guitarist, I'd personally like to see it go for guitars.

Thanks,
Andrew

[Matt Hayden]

I imagine that you could easily get four-piece quartered backs out of it, as well as sides. It'll work fine, just a few more joints.

Lucky you!

[Andrew Black]

Thanks for the suggestions, but my buddy (who actually owns the log) is being a space case on making a decision about it. You'll probably see a post from me here in 10 years or so.

[FRANK]

ah tell him this is all I do I am a professional cut wood and build Guitars Modesto Guitar Mill I am the owner Paul call [phone]

[Andrew Black]

Roger that. I'll keep you posted.

[FRANK]

I can still cut it for you bro in CA