News/Newsletter 11.07

"You can take the tree out of the forest, but you can't take the forest out of the tree."

Rosewood vs. Mahogany

Anyone at all familiar with musical instruments, has undoubtedly noticed to what great extent Rosewood has entered into their construction, and how in the sale of Pianos, Guitars, Mandolins, Zithers, Drums and many other instruments the prominent features urged as a mark of the highest excellence, was the fact that they were made of this wood.

Rosewood, however has proved to be a very unsatisfactory wood both to the maker and the purchaser. Its unreliable qualities are becoming more manifest every day. Piano makers have ceased using it, and furniture makers have discarded it entirely in their most artistic pieces. The plain fact being that it is beyond human power to so treat this wood so that it will not crack. It is so porous and the grain is so coarse that it can never be depended on to withstand time's destroying touch, being also extremely susceptible to atmospheric changes.

Makers of the smaller instruments seem to be the last to relinquish its use. The undoubted reason being that purchasers think a good Guitar to be first class must be made of Rosewood. And that if any other wood is to be used the instrument can only be classed as an inferior one. This supposition however is wrong. It has been particularly demonstrated that Mahogany and many other woods are superior to Rosewood for that purpose. Mahogany is quite expensive even in its natural state. When handsomely figured is more than the peer in cost and appearance. It may be termed an honest wood. So reliable in a changeable climate and so trustworthy in finishing.

The instruments in this catalogue are nearly all described as being made of Rosewood. The makers feeling that the public demand for this material should be recognized, but any of these instruments may also be had in Mahogany. And the maker strongly recommends the use of other materials for the following reasons:

First. It can be so treated by proper seasoning that it will not crack.

Second. It is capable of receiving a handsome finish and lasting finish.

Third. Mahogany being lighter than Rosewood may be used thicker in construction of delicate parts. Adding materially to the strength but not to the weight. And consequently the vibratory capabilities of the instrument.

Fourth. Mahogany grows darker and richer in appearance with age. It is no exaggeration to say that an old but well preserved instrument made of this wood will be really superior in every way to a new one. While Rosewood deteriorates in appearance continually from the day it is finished.

The words you just read were taken from a 1889 Washburn catalogue. Let me be the first to say that there are indeed many valid points to their entry. Brazilian Rosewood, as guitar players all know, is an extremely dynamic addition to any guitar. There truly is nothing that sounds like it, but there are woods that sure come close, in both tone and beauty. Also, it's an endangered species...no news there. The craftsmen who have worked with this wood have all at one point or another been seriously heartbroken by the misfortunes that it can bear. Rosewood can have a mind of its own, no matter how well seasoned. Washburn's plight in 1889 was related to their overall unfamiliarity of how to properly treat and season this wood. It's no doubt that the cold, dry brutal winters of Chicago wreaked havoc on their Rosewood collection. Luckily, today we are much more aware of what to do and not to do.

I am bringing this issue to your attention because here at Montuoro Guitars I made the decision to only build a limited number of Brazilian Rosewood guitars from this point on. At the moment I have an undisclosed amount of the material, and I will be reserving it for presentation style guitars only. I will continue to build in the future with Rosewood, of course, but with the mass extinction of Brazilian, it's important to look towards the future. I recently purchased the last of the Brazilian sets from my longtime supplier - he has no more. And don't think I will start buying it on Ebay. No offense to anyone. That's way too unreliable.

I have been experimenting with non-Brazilian materials and have designed an instrument that I feel would stand tall next to any Brazilian guitar. Graining techniques and staining combinations have allowed me to mimic the visual appeal of Brazilian as well. It's all an individual matter of perception. Indian Rosewoods can of course look fabulous and serve the purpose for people wanting Rosewood at an affordable price, but Indian sounds nothing like Brazilian. Amazon Rosewood sounds very similar to Brazilian and was used by Gibson quite often in the 30's and 40's. Today it can be hard to find in large enough dimensions, unless you don't mind a four piece back. There are species of wood completely unrelated to the Dalbergia family that sound more like Brazilian than other types of Rosewood.

I feel that having an ongoing relationship with an endangered species is just not for me. Trust me - it will be a sad day when I build my last Brazilian guitar. The lore of Brazilian Rosewood in relationship to flattop guitars is unrivaled, and it may take a century or so for that association to disappear into oblivion just as the wood itself has done. Back in the day when the Larson's were building guitars there was an abundance of the stuff. Times are changing, and it's important to change with the times. Building in an older style is primarily what my building is about, so it's a bit scary. Reserve your piece of history before it's too late. For now I will keep you guessing..."How many sets does he have, anyway?"

Frankie Montuoro
11.12 .07