Nigel Forster. Interview. Video.
By terence | October 10, 2008
Nigel Forster | 2008 | Luthier Interview |
I was very lucky to catch up with Nigel recently to see how things were coming along.
TT - Nigel, thanks for catching up…. apprenticing with Stefan must have been a wonderful experience, could you share with us what it was like?
NF - Yes it was, I cannot think of any other maker I would have rather learnt from.
Nigel Forster Model B
(click for fullsize)
Elegant Model B
European Spruce
Brazilian Rosewood
When I started for Stefan in January 88, Stefan had a good reputation but his work did not command anything like the amount his work does today (a Model 1 guitar was £800!) and from the start the atmosphere was one of hard work. I started at 7.30 and finished at 5.30, five days a week. Stefan was often there before me and always there for a few hours after. And he was there on weekends too. He worked 14 hour days, seven days a week for years.
My first duties were cleaning up, making tea and then I went on to sharpening tools and making backs. Next was bending sides and making necks. For the first couple of years most of my duties were based around making the bodies and doing the rough work for the necks and tops. And making the tea of course.
As far as machines - we had an Inca bandsaw, an inaccurate planer thicknesser and a router we used for about 2 or three jobs and that was it. No table saw, no pillar drill, no extraction, nothing. It was a very primitive workshop by modern standards. Most of the work was done by hand.
This is before guitar making was the big amateur business it is now so we were pretty isolated as far as building methods went. Stefan was self taught and so developed many interesting and sometimes odd ways of making, and it was many years before I knew any different which was good.
It was Stefan who developed the method of joining tops and backs on a sheet of chipboard using bent nails for pressure - I have a video of me doing this on my YouTube site and people seem to find it hilarious - but this is how I have done it for 20 years, and it works for me.
As I said, the instruments were not expensive, and the work was done by hand, so the idea was “Get it ready, and get it out” Doing things right the first time was very important, as having to redo things could mean the difference between making money on an instrument or not, so it is a good way to learn. The current crop of luthiers and their apprentices do not work this way - so much of guitar making has been reduced to wood machining now, and my belief is that something of the human touch has been lost. A balance between working efficiently and quietly should be sought. But at the same time I understand that most customers neither know nor care about this.
As the years went by the instruments got better, the waiting list grew, prices rose and we got all modern - Stefan bought dust extraction, a belt linisher and eventually I bought my own table saw - my favourite machine for making. We made a Go-bar deck! By the time I left it was a pretty swish workshop.
We had our own rooms with the machine shop in the middle, and in the last few years I had a pretty free hand to get on with things, to work on the design and develop my own ways of the building process. As long as the standard improved, Stefan was happy to let me experiment.
TT- Innovations like your 3 piece, mixed rosewood backs?
NF - No, I can’t claim that, In 2003, Stefan and I built a guitar for a chap called Maurice Condie which was a mix of Cocobolo and Rio, and it came out sounding much more like Rio (another term for Brazilian Rosewood) than Cocobolo. A couple of years later I had a customer who didn’t have the money for Rio and was also concerned about its stability but still wanted a Rio sound, so I thought I would try mixing Rio with Indian, the results were great, and I have made many since - it is my commonest timber upgrade and rightly so.
No, most of the experimentation I did was technical stuff, to make the instruments more consistent, to eliminate building mistakes that often occurred early in the build that had to be compensated for later.
I also spent a lot of time thinking and working on the neck/body joint and the neck/head joint, both of which I have covered in my blog. And then there was the most important part - the soundboard. Early Sobells were just too stiff, they were heavily arched, heavily braced and every intersection of braces was linked.
Some came out sounding good, but they often lacked bass and felt too stiff. So we spent a lot of time experimenting and discussing the top, changing it to allow it to resist the pull of the strings and still sing.
But it got to the point where it was time for me to leave, I had too many ideas I wanted to try, and Stefan and I had spent too much time together. We attempted to set up a partnership where I would gradually take over the business but it didn’t work out. Time to go!
Which actually was the best possible thing for both of us - Being in business for myself is great - I’m doing the best work of my life just now, the sound of my guitars and Bouzouki still has that clarity and separation, but with a much fuller and rounder bass, the work is going well and whilst the aesthetic is still very simple, my guitars have a certain look about them which sets them apart from much of what is being made.
Part of my nature is I get bored easily - making the same guitar over and over would drive me mad, experimentation is the thing which has held my interest in guitar making for all these years and continues to do so. You can think about design all you like but the only way to find out is to build.
TT- When you say, great results with the rio and indian, do you mean mostly sounds like rio? With these do you have indian rosewood sides too?
NF - Yes, sounds much more like Rio than Indian. The sides are Rio, the back is a narrow central strip of Rio (around 2-3″) and outer wings of Indian. I have no explanation why the sides should have such a profound effect, but they clearly do.
TT- You mentioned that you’ve made a lot of discoveries since the first interview…
NF - The short answer is - I’m not telling! It is common for makers, amateurs in particular to share what they know or at least what they think they know, but this can lead to lots of people making similar guitars. The reason why people want my work and are prepared to pay the price I ask is that my work is not like that of most other makers.
By ignoring what you may read or be told and thinking for yourself it is possible to come up with new ideas and a different sound. - a better sound. Sound is a by product of design - one maker I know with an excellent scientific background describes sound as an energy loss to the guitar.
If you consider the architecture of the guitar and the nature and direction of the forces that act on it, and design accordingly you make a guitar that is unconventional to many but that sounds clearer and fuller than much of what is on offer.
This may sound all wrong - surely sound should come first - it still does, but I approach creating a wonderful sound from a different angle - one of creating a logical construction which will liberate the sound from the materials.
So the discoveries I have made in recent years about the soundboard - what it is I want and how I go about getting it shall remain secret. But basically it is about soundboard shape and thickness.
Nigel Forster Model J
(click for fullsize)
Model J
European Spruce
Brazilian Rosewood
TT - Most folks would like to know a little about the thought and the process behind your guitars...
NF - Ok, I’ll tell you about a minor discovery and how it came about.
When I worked for Sobell, we built very dry - the fire was always on and the dehumidifier was always running. One of the results of this was the backs used to deform when they left the workshop in an odd manner - the back would swell except at the waist where the short back strut was. You would get a sort of rollercoaster effect. Didn’t look nice.
So to counter this I suggested slanting the waist bar to lengthen it and made it shallower, the idea being to make it more flexible, that way the back would swell uniformly. A little bit more work but it worked. I asked “What reason shall I tell customers”, and Stefan laughing said ” The sound, always the sound!” But we never really bothered to think any reason up - if anyone asked, I’d change the subject.
I still do this on my guitar as I too have the fire on and the dehumidifier running all the time, Then a year or two ago I decided to lighten the third back strut too, to make the whole thing more flexible. The result was one of the things I have been working towards for some time - more bass.
So now if anyone asks about the slanted back strut I can honestly say ” The sound, always the sound!! “
This is a good example of how I work - I follow my intuition, which is informed by the work I have done before, I try to honestly observe what I have done and I don’t waste too much time thinking about clever theories. Guitar making is a practical subject not just a theoretical one.
To some extent the sound my guitars make is a by-product of the thought I give to the structure. So I work on the architecture and see what comes out.
Nigel Forster Model D
(click for fullsize)
Model D
European Spruce
Rosewood
Nigel says” My Model D is NOT a Martin copy - you can flatpick on it, but basically this is a Dreadnought shaped fingerstyle guitar - this guitar has depth, seperation and clarity”
TT - Apart from the usual construction discoveries, what new models are you working on Nigel?
NF - Well, I’ve just finished the trial run for my Anniversary model (pictures on the blog) And I am very pleased with it. The guitar is roughly OM sized- a 14 fret cutaway version of the Model B. It is a new shape with rather fuller hips and a higher waist than my Model B and has my new larger, lighter bridge.
The top is Italian Spruce and back and sides are Indian/Rio mix. The sides are best dark Rio and the back has a central panel of Rio and outer wings of Indian. The colour of the sound is much closer to Rio than Indian so it just shows you what a contribution the sides make.
Many of the current theoretical models of how guitars work rely on the sides not being part of the equation - the theories go into great detail about how the top and back work, but introducing the sides into the equation complicates things beyond most folks understanding.
So if you follow this line of thinking it makes sense to laminate sides or stiffen them with large linings like the walls of a snare drum. -it physically takes the sides out of the reckoning. However just because an idea makes sense, it does not mean it is right.
You can produce a decent guitar this way but it is not the only way. I cannot give you any reason why the sides should contribute so much but I have made many of these Indian/Rio mix guitars now and it happens every time - the guitar sounds much more like Rio than Indian.
The next step is to build the Anniversary Model, and other than upgrade the timbers to Rio back and sides and my 1930’s German Spruce, I’ll pretty much do everything the same. Only problem is it looks unlikely I’ll be able to get the guitar done this year as I’m pretty booked up, so it will have to be my 21st Anniversary Model rather than my 20th.
TT - I heard you were building from Panamanian Rosewood - it’s pretty new on the scene- how does that compare to Braz or indian?
Models offered Guitars:
Model A- Parlor
Model B- 12fret OO
Model C- OM
Model D- Dread
Model F- O
Model J- Jumbo
Mandolins: Pending
NF - Apparently Panamanian Rosewood is Dalbergia tucerencis, which is the same as Cocobolo, but believe me this wood is not like Cocobolo. Visually it is nice but fairly broad grained and the colour varies from yellow to pink. When sprayed it goes a deeper, richer shade of whatever it started off as.
The main difference from all the other Rio substitutes is it is light - very light and compares with the best Rio. It rings like Rio when tapped but works a little like Cocobolo but not as crumbly. When you chisel Cocobolo, it behaves in a rather odd manner and lumps can fall of even with the sharpest tools. Panamanian does not do this but it is more awkward than Indian.
Basically in a blind test, if you handed me a good set of Rio and a good set of Panamanian, the only way I would be able to tell them apart is the smell - it smells more like Camatillo - the weight, tap ring and stiffness are very similar. When you build with it the sound is very rich and full, and adds a fullness to the bass, more so than the other Rio substitutes but still, not a s much a s Rio.
As far as I am concerned there is a pecking order for back and sides tonewoods, with Rio at the top, Rio/Indian mix next, then Panamanian, Camatillo, and then Honduras and Cocobolo together. But it is always worth remembering that there is nothing wrong with a good set of Indian, and it is more stable than all the others - a significant advantage if ever there was one. .
Nigel Forster Detailing
(click for fullsize)
Elegance, precision and beauty
TT- How about your pick of the topwoods? I know Stefan usually only uses Euro, maybe adirondack…?
NF - I have become rather obsessed with getting good Spruce in the last few years and I have LOTS! For most of my guitars I use Italian Spruce, For Mandolins and Citterns I have a huge stock of very nice light Czech Spruce. though I have recently bought a lot of Swiss and German stuff for Citterns too.
For my more expensive guitars there is some very fine grained German and Swiss, no better sounding than the Italian but it really looks the part, and I recently bought a lot of good Bearclaw Spruce too from a German dealer, but my “special” stuff is German Spruce which was felled in the 1930’s. Rather good as you can imagine.
I do have some Adirondack Spruce for guitars and Mandolin but have never had time to use it yet. Though I have made a couple of guitars with very fine grained Caucasian Spruce (Picea Orientalis) which is very interesting stuff. It cuts like cheese yet is really rather stiff, and very light.
TT – Could you give us a run down of your current line up and wait times??
NF - Waiting time is around 8 months. Sometimes less, sometimes more. Apart from the orders which are all guitars I’m working on a new model of arch top mandolin, and a new design for my Citterns and Bouzouki. I hope to have them ready by Christmas.
So just now I am building 4 bodies - I make four at a time up to the binding stage then separate them and do one at a time until they are finished. On my bench just now is a Panamanian Rosewood Model J, a cutaway Panamanian Rosewood Model C and two Indian Rosewood Model C’s. The Model C is by far my most popular Model.
Links:
Nigel Forster Guitars http://www.nkforsterguitars.com/
©2008 Terence Tan.
Pictures courtesy of Nigel Foster, MP3s permission from Nigel Foster- ©2007-8.
Topics: Commentary, Luthier interview | No Comments »
Rasgueo Armrest: Armrest Update.
By terence | October 9, 2008
Rasgueo Guitar Armrests | Feature Article | Update:After Market Rests
The Rasgueo Guitar Armrest was recently brought to my attention after I had written the article on after market rests [here]. The inventor, 6′ tall Paul Spielman found he was hunching over his classical guitar, experiencing discomfort and pain.
He designed the armrest to provide additional height & support to play in a comfortable posture. The Rasgueo is a lightweight, clear plastic molded armrest with 3 screw mounted suction cups (like the Plenosom). Thus can be placed in a variety of positions and will not marr the finish of a guitar. The armrests come in a variety of sizes. Costs: US$75
I’ve been using this armrests for a number of weeks now and I find that:
1. Installation is simple. The easy on easy off suction cups even have little tabs to help removal. The suction cups do stick better than the Plenosom.
2. The rests are comfortable- the molding is comfortable but the design has some flex in it to allow mild adjustment. However, as a smaller individual playing M or D sizes, the armrest is too much, it pushes the right hand too far away for comfort- although I did use to great effect on a parlor guitar!
3. Improvements in tone are subjective.
4. Problem: Perfect for large chaps playing small guitars who need that extra support, but too much for larger shapes and smaller folks. However, because of it’s suction cups, I found an alternative use for it- as a rib rest! I reversed the rest and with the bigger guitars, it allows my chest relief from the edge of the binding.
Summary: A perfectly functional tool for who it was designed for: Large Classical Players but because of it’s flexibility has many applications- as the forementioned rib rest.
So, the suction cup system works better than the plenosom and it can used by all players alike. It is more expensive and compared to the John Pearse models (which many feel are the gold standard) but it is a non-permanent flexible tool, which will not affect future resale.
Here’s a pic of the model for this article, my Spira OOOO.
Link: http://www.rasgueo-rest.com/
©2008 Terence Tan.
Some Photos courtesy of Paul Spielman
Declaration: Guitar is not owned or sold by the author.
Any infringement of copyright is entirely unintentional. Any copyright issues should be address to: writers@guitarbench.com. We will attempt to resolve these issues quickly.
Topics: Administration | No Comments »
Bunya. Tonewood Database. Draft
By terence | October 8, 2008
Araucaria bidwillii| Tonewood Profile | ”Bunya”
Quick Facts
Scientific name: Araucaria Bidwillii
Trade names: Bunya
Janka: 650
Uses: Tops
RIYL: Port Orford Cedar, Cypress.
Bling factor: Can have some figure
Availability: Very Limited.
CITES status: Not listed. No restrictions
Note: (RIYL) Recommended If You Like
Bling factor rated out of a maximum of 10, based on the most highly figured sets we have seen.
Natural History
Australian Bunya is a large evergreen conifer native to south-east Queensland and New South Wales which used to be plentiful. Heights of up to 50 m have been documented.
Robin Russell added:”A. bidwillii was a sacred tree for the Aboriginal people. The vernacular name is Bunya, Bonye, Bunyi or Bunya-bunya, from various tribes or European variations of the Australian Aboriginal name for the tree. It is also often called Bunya Pine (though this is inaccurate as it is not a pine). The seeds are edible, are similar to pine nuts, and have been an important food resource for Australian Aboriginal people. They are eaten both raw and cooked. Traditionally they were also ground and made into a paste, which was eaten directly or cooked in hot coals to make bread. Groves of the trees were often under particular tribal ownership.”
Status
Although populations of Bunya have been reduced through logging, dam construction and historical clearing, large populations are protected in reserves and parks.
Physical properties
Bunya has an excellent stiffness to weight ratio and is actually 10-20% stronger than Englemann spruce. It lacks differentiation in annular rings due to it’s sub tropical and tropical habitat provides less seasonal climate variation.
Robin Russell added:”Bunya was regarded as a viable alternative to spruce for aircraft manufacture & Bunya is used as a top wood by leading Australian makers including Maton and Cole Clark.”
Rapid growth Bunya maintains these physical properties and coupled with less visible annular rings allows for plantation growth of this topwood. It has a Janka of 650 lbf and a specific gravity of 1.3.
As a tonewood…
Bunya was pioneered by Bradley Clarke during his period at the Maton guitar factory. The story goes that in 1998, Clarke discovered through paper research that Bunya had the lightweight and stiff characteristics of a good topwood.
Subjective tone…
Bunya topped guitars characteristically have a direct, strong sounding instruments with more midrange compared to spruce guitars.
Availability
A plantation resource in South Queensland and Northern NSW ensures a continuing supply of Bunya.
Links/ References:
Cole Clark Guitars http://www.coleclarkguitars.com/
Australian Tonewoods http://www.australiantonewoods.com/
©2008 Terence Tan.
Pictures copyright individual holders.
Any infringement of copyright is entirely unintentional. Any copyright issues should be address to: writers@guitarbench.com. We will attempt to resolve these issues quickly.
Topics: Tonewood Database | No Comments »
Guitar Photography: Lighten
By terence | October 6, 2008
Guest Photo | tomeq | “Lighten”
This image is easily formatted to fit any resolution- Left Click for a larger view, right click to save!
Here’s a really great shot taken by tomeq who has used a long exposure with a light source to produce the image you see here… One of my favourite photos ever.
All content ©2008 tomeq. Used with permission.
Check out more great photos from tomeq here: http://tomeq.deviantart.com/
Topics: Photography | 2 Comments »
Urgent Update.
By terence | October 5, 2008
Dear friends,
There’s been a lack of updates this week for which we apologise. Terence has been urgently called to attend to an illness in the family, but happily it looks like things are improving to the point where he can run the blog again. For the moment, I’ll be using his log in to publish several articles which have been pre-prepared.
Regards,
Dave from the guitarbench team.
Ps. For those who don’t know me, I’m Dave L. and I help Terence with running the blog- I help with some of the more advanced scripting and HTML.
Topics: Administration | No Comments »
Tortoiseshell picks. Feature article. Reworked.
By terence | October 3, 2008
Tortoiseshell picks| Feature Article | “Save the Turtles!”
Please be informed this is a reworked (ahem) article at the request of Andy Highfield.
What are tortoiseshell picks?
These are picks made from the keratin scutes (shells) of specific marine turtles, and not from the scutes from terrestrial tortoises. All marine turtles are endangered and have been listed on Appendix 1 of the CITES convention since 1994.
CITES convention?
CITES stands for: Convention on International Trade in Endangered Species. It is an international agreement between governments, to ensure trade in specimens of wild animals and plants does not threaten their survival.
Offical CITES websites:
CITES website
Appendices info
So what’s Appendix 1?
Appendix I consists of species that are threatened with extinction and are affected by trade. Trade in wild-caught specimens of these species is illegal. It may be permitted only in exceptional licensed circumstances.
There are approximately 800 species on Appendix 1 including all marine turtles, the gorilla and the Jaguar.
Why are marine turtles on Appendix 1?
Exploitation for tortoiseshell has caused the decline of several species, most notably, the Hawksbill turtle (Eretmochelys imbricata).
Tortoise shell was widely used in the 60s and 70s in the manufacture of combs, sunglasses and knitting needles. It was attractive because of its natural beautiful, durability and organic warmth against the skin.
It was used in guitar picks because it can be easily worked, has excellent durability – tortoiseshell picks can be used for years.
It is illegal to own a tortoiseshell pick?
Possession of a tortoiseshell pick is not offence. So it is entirely legal to re-work an antique 1930’s tortoiseshell box to make picks. However, it is an offense to sell or transport those reworked picks internationally (without permits).
Sales of any tortoiseshell product made after 1947 is illegal. Seizures are a common occurrence worldwide. A survey of 2 US fish and wildlife service offices revealed over 5,000 tortoiseshell guitar picks alone.
Here’s what the UK CITES management authority has to say on this:
“As you are probably aware, worked items made from tortoiseshell that acquired before 1 June 1947 do not require Article 10 certificates to allow them to be used for any commercial purpose – which would include sale. However, if a pre-1947 worked item is subsequently re-worked after 1 June 1947, then the derogation would not apply and an individual Article 10 certificate would be required. Anyone selling such re-worked items without an Article 10 certificate would be committing an offence under Regulation 8(1) of the Control of Trade in Endangered Species (Enforcement) Regulations 1997 and, if convicted, could face up to five years in prison, an unlimited fine or both.”
Roy Pitt
Enforcement Co-ordinator
Animal Health Agency
UK CITES Management Authority
How about before 1947?
All tortoiseshell items made prior to 1947 can be sold legally with the CITES paperwork.
What are ‘Reworked’ picks?
The term “re-worked” is defined as conversion from a different object. This includes conversion from a box or hairbrush to a guitar pick.
Reworked Tortoiseshell picks
Why is reworked tortoiseshell picks illegal to sell?
It is not as it is impossible to positively prove it’s origins.
Here’s an example: A 1999 survey by Traffic, a worldwide trade monitor network showed newly created tortoiseshell guitar picks being sold at US$5.40 in Mexico City and the Yucatán Peninsula.
There is no method to differentiate between one of these Mexican made picks and the pick you have made from your grandmother’s 1920’s tortoiseshell box.
Are there legal tortoiseshell picks?
D’Andrea manufactured tortoiseshell picks from 1930 to the late 70’s. At present however, there is no way to prove a date of manufacture for a guitar pick as even receipts cannot identify individual picks.
Do they sound different?
My opinion is that compared to nylon and plastic picks, the tortoiseshell picks do provide more clarity and greater depth to the trebles. However this is a minor difference and there are many good picks on the market.
Golden Gate, Wegen, and Tortex are just a few used by pickers, each with their own wonderful characteristics.
Links:
CITES website
US fish and wildlife
Traffic
Specific references:
Department of the interior news release 21st September 1981, Alan Levitt
Connett, S. Pers. comm. to E. Fleming, TRAFFIC North America, Washington, D.C., November 1999.
Tortoiseshell and the law-
-
2008 Terence Tan.
Pictures ©2008 respective owners.
Original article from transatlanticbluegrass.com
Any infringement of copyright is entirely unintentional. Any copyright issues should be address to: writers@guitarbench.com. We will attempt to resolve these issues quickly.
Topics: Feature articles | 2 Comments »
Port Orford Cedar. Tonewood Database.
By terence | September 30, 2008
Chamaecyparis Lawsoniana | Tonewood Profile | ”Port Orford Cedar”
Quick Facts
Scientific name: Chamaecyparis Lawsoniana
Trade names: Port Orford Cedar
Janka: 720
Uses: Tops, Back & sides, drop tops
RIYL: Sitka, Cypress
Bling factor: Can have curl (4/10)
Availability: Limited but steady
CITES status: Not listed. No restrictions
Note: (RIYL) Recommended If You Like
Bling factor rated out of a maximum of 10, based on the most highly figured sets we have seen.
Natural History
Port Orford Cedar is the largest cypress in the world, obtaining heights of 200 feet and a trunk diameter of 8 feet with trees attaining ages of up to 600 years. It is a coniferous evergreen tree with feathery foliage in flat splays.
It’s natural range is a small coastal area along southern Oregon and northern California, about 200 miles long and 40 miles inland.
Status
The first discovery of Port Orford Cedar was made in 1854. It was made by collectors working for the Scottish based Lawson & Son nursey and was initially used in horticulture for garden planting but soon gained popularity as a timber.
Following then, heavy logging and fire have reduced the already limited distribution of this tree. The export has been steady with Japan the main market as a Hinoki substitute.
In the 1950’s the root fungus Phytophthora lateralis, introduced into the United States caused a fatal root rot. It spread throughout much of the range of Port Orford cedar causing further decline.
However naturally resistant trees are not unusual and coupled with it’s enduring popularity as an ornamental, the Port Orford Cedar future looks safe.
The current stands are managed closely with very limited commercial logging.
Boards of Curly Port Orford Cedar
Physical properties
The lumber has a faint yellowish white hue with very fine grain and an even texture. It is stiffer and lighter than Alaskan Yellow Cedar. The aroma is peppery which is typical of the cypress family.
In use, it is durable and easy to work. It was once used as arrow shafts due it’s split resistance. Now luthiers find it is more resistant to splitting than any other top wood. It has a Janka rating of 720 lbf and a specific gravity of 0.44.
Stansell Guitar
(click for fullsize)
An all Port Orford Cedar flamenco guitar by Les Stansell. Mastergrade POC top with Curly POC back and sides.
As a tonewood…
It’s great stiffness and lightness has appealed to flattop makers Greg Byers, James Goodall and Les Stansell.
Les Standsell says: “Oregon Cypress (Port Orford “White” Cedar) displays all the most desirable structural and resonance qualities sought after by instrument makers…….it has the highest stiffness/weight ratio of “all” wood species. In addition, when compared to all other North American softwoods, POC ranks highest in elasticity and resistance to crushing, shearing, denting and splitting. POC is deal for Flamenco guitars as a substitute for: other Spruces and Cedars (tops and bracing)………. Spanish Cypress (backs and sides)………and Spanish Cedar (necks).”
Subjective tone…
I would broadly characterise the tone of Port Orford Cedar as bold and direct throughout the fundamentals with little overtone content. It has slightly better headroom to Sitka spruce and but responds to the touch in the same way. This is my experience of flattop guitars made from this topwood.
Availability
Heavy exports and the small supply of trees with limited logging make the instrument grade logs very high priced. Commercially, it is only occasionally available to instrument makers.