Timber

I am a conservationist as well as a user of tropical timber. I see no conflict, since I am a paying customer of third world products and give them every reason to sustainably harvest their resources. I am concerned, however, when I find that guitarists only want one timber, regardless of its rarity, because it is imagined to possess some legendary sound quality. No timber is unique (but I do have some Rio Rosewood) ~ guitars don’t all have to look like clones of each other.

There are excellent alternatives and conservation is best served by using a diversity of species. For this reason I hold a wide ranging stock of timber varieties ~ tropical and temperate ~ for custom build clients to choose from. I can make a completely non-rainforest guitar if you want one. My timber store and workshop are humidity controlled and centrally heated. Some of my stock was bought from other makers and is older than my involvement in luthiery. Much of the rest is over 5 years old. Regular weighings of samples ensure stability is attained before use in a 45% RH atmosphere. High quality raw materials carefully nurtured definitely improve wines and guitars!

Species and grain pattern list

Key: (#) I have only one set of each of these
(PF) from Paul Fischer's 'exotics' collection

Aruda (# PF)
Black Acacia (#)
Bubinga
Cocobolo
Cypress
Imbuya
Jaguar’s Ear (# PF )
Lacewood
Madrona (#)
Mahogany varieties: Plain; Diagonal ripple (see pricing page); Quilted (#)
Maple varieties:Plain; Flamed; Bird’s Eye; Lace
Ovangkol
Padauk
Pau Rosa (#)
Ropala Lacewood (#)
Rosewood varieties: Brazilian ( Rio); Hard Jacaranda (PF); Honduras;
Indian; Madagascar; Palo Escrito; Pau Ferro; S.E. Asian
Sapele
Tasmanian Blackwood
Vanuatu Cedar (a tightly flamed Koa relative)
Wenge
Yew