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After the skill level of the instrument maker, tonewood selection is the most dominant factor affecting the sound quality of a stringed instrument. The proper selection of instrument grade wood cannot be undervalued, or overstated. Instrument makers today cannot be absolutely certain they are using the very best quality of tonewood available, regardless of their source of supply, or how much they pay for it. The true physical nature of the wood and its workability are not known until the shaping begins. The first few cuts with a razor sharp gouge tells the story. The country in which the timber was grown may be known, but other vital information is often misrepresented, or withheld by the seller, mostly for economic reasons.
Whenever possible, I buy tonewood directly from a harvester rather than abroker. Many resellers today see wood as nothing more than a valuable commodity. Ordinary Spruce wood with narrow and regular annual rings, with no consideration for acoustic properties, is often sold as premium select tonewood, and priced accordingly. This is a serious misrepresentation of the product we so depend on. The value of tonewood should be established by its inherent sound quality first, and "look" second. Some makers, like myself, prefer to use only the first 6 to 8 meters of a tree, when you can get it. That is the "sweet" stuff.
Experts acknowledge that some cell structures and growth patterns are better suited than others for optimum results. It is my opinion, that the most desirable tone qualities come from European Spruce (Picea abies) also known as (Picea excelsa) which grows in the high altitude alpine forests of Europe at 1000 to 1400 meters above sea level. These trees, triangular in shape, and evergreen, live a long time, and thrive in extremely cold temperatures. PROPER AGING AND SEASONING Another area of concern for the instrument maker is the age and natural seasoning of the wood. Newly cut wood (green), and kiln dried woods are equally unacceptable for the construction of string instruments. Wood is a living organism with a complex cell structure. Once cut, this cell structure must be preserved in a slow, natural, and non-aggressive manner. Kiln dried wood is commonly coated with aggressive chemicals to prevent cracking during the oven drying process.
Without hesitation, I believe that my very best sounding instruments have been made from very old, naturally aged European Spruce (Picea abies) Unfortunately, it is very expensive to import today, and going higher every year. This same wood is referred to as Norwegian Spruce in North America, Picéa commun in France, épinette de Norvège in Québec, gemeinefichte in German, and jel europeiskaya in Russia. Additionally, there is no such thing as German Spruce. It has long been extinct. "German or Austrian Spruce" actually comes from Italy,Switzerland, Slovenia, or France.
NORTH AMERICAN VARIETIES Engelmann Spruce (Picea Engelmann) and Sitka Spruce (Picea Sitchensis) from the alpine regions of North America have gained favor with an ever increasing number of luthiers around the world. Both varieties are commonly available, reasonably priced, and desireable for stringed instrument construction. When the wood is cut and seasoned properly it is hard to find fault with it. The American and Canadian harvesters and mills are reliable, fair-minded, and a pleasure to do business with. In America, I have found Simeon Chambers, in Highland Ranch, Colorado, knowledgeable and eager to please. Contact: http://www.rockymountaintonewood.com | ||
The Italian Masters of the 17th and 18th Centuries used a proactive approach to wood selection, and they used it to their advantage. They knew the wood cutters personally. They also knew when the wood was cut, insisted that it be harvested in autumn, or winter months under a “waning moon” to avoid the presence of wood-worms and harmful fungi. They also insisted that the trees be cut on the northern side of the mountain from fairly level ground. Their control of working materials was critically important to their economic success, and reputations as artists. Unlike today, they did not buy wood from uninspired middle men.
Many years ago, a European wood supplier showed me a finished sound plate that represented his very best quality of wood. It was lightweight, and straight grained. When I knocked the face of the plate with my knuckle, there was no harmonic response, just a dull thud. He insisted that my test was overly critical. This was easy for him to say, he was not going to be the person that had to spend countless hours sawing, and working with assorted chisels, planes, and scrapers. After all the "unnecessary wood" has been cut away, I expect to have an attractive, robust sounding instrument that any accomplished player would be proud to own. Starting out with substandard material just makes no sense at all. Unless... you are making bird houses! 
Tonewood must be properly cut, stacked, and stored for an extended period of time before use. The end cuts of the wood must be coated with paraffin wax to insure that the moisture in the wood does not’t simply seep out of the ends of the terminated grain line, but dissipate slowly through the wood’s longitudinal surfaces. Wood that dries too quickly often cracks along the grain lines. This occurs as the wood shrinks from the loss of moisture. Most makers will not use wood if it has not been seasoned for more than five years, and most believe the older the better. Slow drying helps ensure that wood does not develop any internal stresses which lead to splitting and warping. Some private tonewood stocks have wood that is 100 years old, or more. Wood this old is very, very expensive.
European Spruce has been mislabeled as Carpathian Spruce, Italian Spruce, Alpine Italian Spruce, and German Spruce for many years. The fact is that they all represent the same specie. Marketers have added confusion to the topic by insisting that their regional sources of supply are better than others. You have to be careful what you purchase. Grading standards vary from one seller to the next. Please note that it is not uncommon with this species to find some small, isolated bits of "bear claw" figure in all grades except what I refer to as Master Grade. If it is important that sound plates not show this anomoly in the wood.
