Working closely with the best suppliers from around the world sourcing only the finest timbers for our builds.
Koa “Acacia koa”: All our Koa is sourced from sustainable, slow grown trees directly from the big Island Hawaii. We grade our Koa as Hermann would have done, from selected, through to most beautifully figured, to make sure that the different Styles have the correct wood for the period. We also occasionally come across some super rare Master grade timbers. These sets are available on request for custom builds. The sonic properties and tonal richness of the wood is just as, if not more important to us than the grain. We love building beautiful and visually breath taking instruments but the musicality of the timber is always number one. The voice of the wood comes from its density and the way in which it is prepared and worked prior to construction. All our wood is air dried, then shortly before we start building with it, it goes through another drying process as the wood must be at its driest just before we start gluing.
Red Spruce “Picea rubens”: Our red spruce comes from the higher elevations of the northern Appalachians, we’ve found that this is where the finest timber with the best stiffness and tonal qualities is grown. Prefect in look, weight and quality, when comparing to the Red Spruce used in the original instruments.
Rock or Sugar Maple “Acer saccharum”: It’s plain to see why Weissenborn used Rock Maple for his Bridge plates and Bridges. Its density and strength are perfect for the job of standing up to the tensions these guitar endure during a life time. Whilst tonally there are few better woods available. Our Maple has been sourced from Eastern Canada
Rosewood “Dalbergia latifolia”: The Rosewood we source is of a supreme quality, even though it only plays a small part in the Rosettes of the Style 2, 3 and 4 and in the “rope” Marqueterie. It was important that with so many different sub-strans out there that we found the right one for the period.
Holly “Ilex aquifolium”: We source Holly locally in the UK, where we find the most beautiful white pieces. This wood is very hard to dry well without splits whilst still in the round, so by slow drying (the timber we use has been dried for at least 7 years) we can avoid any problems in our stock lumber. Again the Holly only plays a small role in the Rosettes, Marqueterie and (on the models during 1927 and after) the branding plate inside the solehole.