I disagree, to a certain carefully-defined extent.Thanks for the clarifications, Steve.I believe that even with Sheldon's vast experience (compared to ours!), it is almost 'mission impossible' to generalize the characteristics of different wood species due to the variables you mentioned...
If wood characteristics were random over as wide a range as conventional TB wisdom dictates, then small-volume luthiers (and even fine cabinetmakers) would be in deep trouble.
Think about it for a minute: If one hand-picked length of instrument-grade sitka spruce resembled old-growth Honduran mahogany, and the next were closer to balsa, then building a solid body bass might be difficult, but building good acoustic guitars would be impossible.
Why does a high/end Taylor sound like a Taylor, and why do certain Dingwall models fall within fairly predictable weight ranges?
Because when you hand-pick lumber in the relatively small quantities that Sheldon needs for his Canadian line, and when you buy from trusted suppliers, then some things can be kept pretty consistent:
For example, straight-grain Canadian rock maple FB blanks will be relatively low in wax and resin content (thus the need apply at least a thin protective finish), while most cocobolo will be so full of waxes and resins that it has to be wiped with solvents before it can be glued, and a finish isn't needed.
Similarly, maple will be somewhat predictable in turns of weight by volume, steady-state tensile strength vs shatter resistance, etc., etc., etc.
These factors affect sound as well as durability.
As long as you throw out the odd board with internal stress or stability problems (like Sheldon recently had to do with a bunch of bad Wenge necks) or outrageous variations in density, then it's far from a crap shoot.
Last edited:
