|
Post by PistolPete on Dec 1, 2020 17:39:14 GMT
Conversely, Japanese knotweed is edible but nobody eats it. We should set up a business to turn it into guitars. We'd definitely tick all the boxes for sustainability. "Acoustic Soundboard knotweed guitars have a grassy shimmering tone that just grows and grows..."
|
|
|
Post by michaelwatts on Dec 13, 2020 13:00:54 GMT
Just to be clear my comments were a response to andyhowell choice of words that I couldn't resist I'd have no hesitation in using a suitable set Bog Oak for back and sides and have made other guitars using "bog standard" oak which is a mighty fine tone wood and in my eyes a beautiful wood in it's own right. I can see how the source and creation process of Bog Oak gives it an added mystique along with the darker colour and other makers such as Fylde, Brook, Lowden have used it - this is Roger Bucknall's take on itmichaelwatts I enjoyed the video but a question for you - I'm intrigued to know how many Bog Oak back and side acoustic guitars you have played and what criteria you used to calculate/estimate the difference in degree of "vitreous/glassiness" of the Bog Oak used on the guitars as alluded to at 2m57s to 3m in the video. I think I'm just in double figures - Lowdens, Turnstone, Taran and now this Swannell - certainly less than 20. I make a point of asking each builder about the working qualities of the woods they chose, if they adjusted their process at any point and why. That's regardless of the genus of wood used.
|
|