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Discussion in 'Bad Dog Cafe' started by ojaverde, Aug 27, 2019.
Very good, carry on ........
The good thing is that those who can hear a difference in the wood used for an instrument will be able to get what they want, and those who can’t will play whatever they like...
As long as no forest is destroyed, no elephant killed, etc...
Is it easier to refret a rosewood board over a maple board?
If someone would give me a good prewar D-28 in good shape, I would be able to live with ANYTHING that might have been done to get it into my hands. People say that Indian rosewood is just as good Brazilian RW , is kind of like saying that Rosie O'Donnell would be almost as good to have around as Jennifer Lawrence. It's the ALMOST that kind of kills the deal.
Every time I wish I had a prewar D-28, it causes me to run head on into the fact that I am unworthy to own such a guitar. Better someone younger and more proficient own it. I can't even WISH for one without feeling guilty. I had a D-28 Marquis and sold it to the to the fiancé, later, husband of a talented young lady who could appreciate it, and make it her lifetime guitar. Though unworthy, I'm glad I owned it for as long as I did, it was a magnificent guitar.
Due to production cost(s) at Fender’s Ensenada plant, it probably will. With that said my Teles are all maples...but my 92’ westerly built Guild acoustic has a pao ferro (santos or whatever) fingerboard and it’s a fine instrument.
That’s also my opinion...
I have a friend who bought a brand new Martin guitar, not the most costly model I must admit. But he wanted a guitar from a good brand. When I tried it, I felt sorry for him. He paid more for a cheap guitar from a big company than I paid for a better guitar from a smaller but a good company (Godin).
Btw, I tried some Boucher guitars and would buy one if I was playing as much as before...
If you remove any RW tone argument, the only issue with pao ferro is it doesn’t quite get the classic look. It’s a very nice fingerboard material. Same with a ton of other woods. IMHO on the Vinteras, the main concern would be to get something that dyes to a 60s black-brown. The old MiM RW boards didn’t have the 60s look either...
O.K. So I just talked with fender and I was told that considering the current inventory in their possession at the Ensenada plant that yes the Mims will continue with Pau ferro boards but ( Rep states that he is only speculating) that with new cites information being considered that they may broaden the use of other rosewoods in the near future. Hope that helps.
What I find interesting is the people that tout domestic woods and use the non domestic woods on their own builds . Yesterday , they are proclaiming domestic woods and today , they act like that never took place . Sad .
It's pretty easy to pull frets on both so I don't think one is "easier" than the other however...
Maple is usually sprayed over with Lacquer so you do have to score both sides of the frets
with a Razor to pull them so that is extra work.
I love being the first to inject a probably baseless rumor, but I've heard from serval probably very impeachable sources that after it's too late to return the guitar some people have developed allergic reactions to Pao Ferro fretboards. I've read where even some people working with the wood have developed allergies as well. Gee, it's gonna take a real man to play these new fangled guitars. In certain states, the end user may not notice his allergies until some kind hearted observer reports them to him. Remember if you are considering a Pao Ferro fretboard, Google is your friend, or at least informer.
You mean proper permits could be applied for....no assurances that they would be granted. The regulations added cost and uncertainty, scaring makers into looking for replacement materials. It is events like this that make companies like Godin a smart player in the industry. They use local sourced wood and have purchased enough wooded land to be able to supply their production of spruce, cedar, and cherry for decades to come.
Bottom line is that we the consumers should have our options back. For those that loved the new replacement materials, hopefully they will continue to provide that as an option, but the rest of us will hopefully not be forced to now.
Almost all hard woods (exotic and domestic) are pretty toxic stuff which would require proper health and safety measures at the workplace (which hobbyists usually ignore). The range goes from allergic reactions, nasty inflammations from splinters (as a reaction to the wood, not from an infection) up to cancer.
Cancer of the nasal mucous membranes is a recognized occupational disease in Germany and our regulations for hazardous substances (TRGS 905) classify dust from beech and oak as Class 1 carciogenic substance (definetly proven) and all other hardwood dust as Class 3 (reasonale suspicion).
And compared to the amount of exotic wood that goes into furniture and construction timber or just gets destroyed by slash and burn agriculture, the wood for musical instruments is neglegible.
Agreed too. An experienced luthier can make almost everything sound good.
This is a 12-fret with back and sides build from Appletree. It was a 40+ year old plank full of knots and wormholes that Joe bought from the stock of a retired carpenter.
Add an alpine Spruce top, Mahogany neck, and Ebony fretboard and bridge, so it's a completely non-CITES instrument.
Apropos "target tone": I wanted this Guitar to work with dropped tunings so he build it to have a really fat low end. This beast sounds almost like Jumbo but still has the responsiveness of its OM-size.
Always thought this was a total load of BS!
The ban gave rise to the use of Chechen, which is a really pretty fretboard alternative... I've been noticing some really beautiful G&L guitars using Chechen...