| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.0" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is medium density for redwood. For elevated density check out the 80yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 60 years laying there in the hills of the Northern California coast, and has moderate yet very fine silking. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.5" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is medium density for redwood. For elevated density check out the 80yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 60 years laying there in the hills of the Northern California coast, and has moderate yet very fine silking. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.25" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is medium density for redwood. For elevated density check out the 80yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 60 years laying there in the hills of the Northern California coast, and has moderate yet very fine silking. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.25" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is medium density for redwood. For elevated density check out the 80yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 60 years laying there in the hills of the Northern California coast, and has moderate yet very fine silking. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.5" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is medium density for redwood. For elevated density check out the 80yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 60 years laying there in the hills of the Northern California coast, and has moderate yet very fine silking. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.0" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is medium density for redwood. For elevated density check out the 80yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 60 years laying there in the hills of the Northern California coast, and has moderate yet very fine silking. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.0" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is medium density for redwood. For elevated density check out the 80yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 60 years laying there in the hills of the Northern California coast, and has moderate yet very fine silking. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.25" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is medium density for redwood. For elevated density check out the 80yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 60 years laying there in the hills of the Northern California coast, and has moderate yet very fine silking. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.0" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is medium density for redwood. For elevated density check out the 80yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 60 years laying there in the hills of the Northern California coast, and has moderate yet very fine silking. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.0" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is medium density for redwood. For elevated density check out the 80yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 60 years laying there in the hills of the Northern California coast, and has moderate yet very fine silking. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.0" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is medium density for redwood. For elevated density check out the 80yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 60 years laying there in the hills of the Northern California coast, and has moderate yet very fine silking. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.25" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is medium density for redwood. For elevated density check out the 80yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 60 years laying there in the hills of the Northern California coast, and has moderate yet very fine silking. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.0" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is medium density for redwood. For elevated density check out the 80yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 60 years laying there in the hills of the Northern California coast, and has moderate yet very fine silking. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.5" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is medium density for redwood. For elevated density check out the 80yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 60 years laying there in the hills of the Northern California coast, and has moderate yet very fine silking. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.5" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is medium density for redwood. For elevated density check out the 80yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 60 years laying there in the hills of the Northern California coast, and has moderate yet very fine silking. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.25" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is medium density for redwood. For elevated density check out the 80yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 60 years laying there in the hills of the Northern California coast, and has moderate yet very fine silking. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.25" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is on the more dense side for redwood. For medium density check out the 60yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 80 years laying there in the hills of the Northern California coast. Its a lot of heavy flake/glint type silk on these. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.5" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is on the more dense side for redwood. For medium density check out the 60yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 80 years laying there in the hills of the Northern California coast. Its a lot of heavy flake/glint type silk on these. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.5" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is on the more dense side for redwood. For medium density check out the 60yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 80 years laying there in the hills of the Northern California coast. Its a lot of heavy flake/glint type silk on these. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.125" | 21" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is on the more dense side for redwood. For medium density check out the 60yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 80 years laying there in the hills of the Northern California coast. Its a lot of heavy flake/glint type silk on these. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.5" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is on the more dense side for redwood. For medium density check out the 60yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 80 years laying there in the hills of the Northern California coast. Its a lot of heavy flake/glint type silk on these. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.5" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is on the more dense side for redwood. For medium density check out the 60yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 80 years laying there in the hills of the Northern California coast. Its a lot of heavy flake/glint type silk on these. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.5" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is on the more dense side for redwood. For medium density check out the 60yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 80 years laying there in the hills of the Northern California coast. Its a lot of heavy flake/glint type silk on these. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 9.0" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is on the more dense side for redwood. For medium density check out the 60yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 80 years laying there in the hills of the Northern California coast. Its a lot of heavy flake/glint type silk on these. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.5" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is on the more dense side for redwood. For medium density check out the 60yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 80 years laying there in the hills of the Northern California coast. Its a lot of heavy flake/glint type silk on these. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.5" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is on the more dense side for redwood. For medium density check out the 60yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 80 years laying there in the hills of the Northern California coast. Its a lot of heavy flake/glint type silk on these. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 9.0" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is on the more dense side for redwood. For medium density check out the 60yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 80 years laying there in the hills of the Northern California coast. Its a lot of heavy flake/glint type silk on these. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.5" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is on the more dense side for redwood. For medium density check out the 60yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 80 years laying there in the hills of the Northern California coast. Its a lot of heavy flake/glint type silk on these. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.0" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is on the more dense side for redwood. For medium density check out the 60yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 80 years laying there in the hills of the Northern California coast. Its a lot of heavy flake/glint type silk on these. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.0" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is on the more dense side for redwood. For medium density check out the 60yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 80 years laying there in the hills of the Northern California coast. Its a lot of heavy flake/glint type silk on these. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Soundboard | 8.25" | 22" | 0.175" | q |
Redwood, sequoia sempervirens, acoustic guitar top. This run is on the more dense side for redwood. For medium density check out the 60yr run. All redwood darkens to a more homogeneous deep red color with time and UV light. These are cut from a salvage, not sinker, log that was pulled off private timber land after about 80 years laying there in the hills of the Northern California coast. Its a lot of heavy flake/glint type silk on these. All my redwood tops come from twice hand split old growth blocks that have been double culled.This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them.Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. Cutting tops from handsplit material, as opposed to lumber, is the best yet most labor intensive method for yielding plates with no grain runout.You can always contact me for more pics of any particular set, or questions regarding taptone and stiffness.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 0.25" | 32" | 0.1" |
Bigleaf Maple. Western bigleaf is generally a bit more honey than blonde, although it depends on how long the tree was deceased prior to milling. This run is more cinna-honey and see 101 for a bit of light honey. Excellent figure. I organize all my binding by the very blank it was cut from, and will pull your pieces for the best match when packing your order. Picture is of this very run. Also sold by the bundle, which means all of the pieces a particular blank produced. Contact me for current bundle availability.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 0.25" | 34" | 0.09" |
Bigleaf Maple. Western bigleaf is generally a bit more honey than blonde, although it depends on how long the tree was deceased prior to milling. This run is light honey and see 102 for a bit of cinna-honey. Excellent figure. I organize all my binding by the very blank it was cut from, and will pull your pieces for the best match when packing your order. Picture is of this very run. Also sold by the bundle, which means all of the pieces a particular blank produced. Contact me for current bundle availability.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 0.25" | 34" | 0.095" |
Eastern Red Maple. Consistantly blonde with excellent figure. I organize all my binding by the very blank it was cut from, and will pull your pieces for the best match when packing your order. Picture is of this very run. Also sold by the bundle, which means all of the pieces a particular blank produced. Contact me for current bundle availability.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 0.25" | 32" | 0.115" |
Bastogne Walnut. Some minor figure amid the classic darks/carmels that are typically bastogne, which is a cross between a claro and an English walnut. I organize all my binding by the very blank it was cut from, and will pull your pieces for the best match when packing your order. Picture is of this very run. Also sold by the bundle, which means all of the pieces a particular blank produced. Contact me for current bundle availability.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 0.25" | 34" | 0.1" |
Oregon Myrtlewood. This stuff comes off of Coquille Nation tribal land. I organize all my binding by the very blank it was cut from, and will pull your pieces for the best match when packing your order. Picture is of this very run. Also sold by the bundle, which means all of the pieces a particular blank produced. Contact me for current bundle availability.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 0.25" | 34" | 0.11" |
Claro Wanut off the legendary "Mother" run. Excellent tight fiddleback. I organize all my binding by the very blank it was cut from, and will pull your pieces for the best match when packing your order. Picture is of this very run. Also sold by the bundle, which means all of the pieces a particular blank produced. Contact me for current bundle availability.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 0.25" | 32" | 0.11" |
African Padauk. Straight and orange turning to deep aged rust over time. I organize all my binding by the very blank it was cut from, and will pull your pieces for the best match when packing your order. Picture is of this very run. Also sold by the bundle, which means all of the pieces a particular blank produced. Contact me for current bundle availability.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 0.25" | 32" | 0.105" |
Figured Koa! I cut these off some very old outgraded and orphan guitar side plates been sitting around a warehouse for decades. The flame is excellent at one end and good at the other, so there's a bit of a fade somewhere along the length, fyi. Still super nice! I organize all my binding by the very blank it was cut from, and will pull your pieces for the best match when packing your order. Picture is of this very run. Not available for bundle purchase.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 0.25" | 32" | 0.1" |
Acacia Koa from the Big Island of Hawaii. Same as 101, but pulled for darker color. I cut these from wood that came out of an old ukelele shop. Its good dense old school koa with classic koa shimmer and chatoyance, however unfigured. I organize all my binding by the very blank it was cut from, and will pull your pieces for the best match when packing your order. Picture is of this very run. Also sold by the bundle, which means all of the pieces a particular blank produced. Contact me for current bundle availability.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 0.25" | 32" | 0.09" |
Acacia Koa from the Big Island of Hawaii. I cut these from wood that came out of an old ukelele shop. Its good dense old school koa with classic koa shimmer and chatoyance, however unfigured. I organize all my binding by the very blank it was cut from, and will pull your pieces for the best match when packing your order. Picture is of this very run. Also sold by the bundle, which means all of the pieces a particular blank produced. Contact me for current bundle availability.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 3.25" | 7.5" | 0.085" |
Figured Bastogne Walnut. This is a bookmatched plate sanded clean both sides. Makes for a very custom look and the joinery and milling is already completed. I make these with my old drum stave veneers from back when I was a percussion instrument maker. Also works well as inlay material.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 3.75" | 7.5" | 0.07" |
Koa with moderate figure. This is a bookmatched plate sanded clean both sides. Makes for a very custom look and the joinery and milling is already completed. I make these with my old drum stave veneers from back when I was a percussion instrument maker. Also works well as inlay material.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 3.75" | 7" | 0.085" |
Flame Bigleaf Maple. This is a bookmatched plate sanded clean both sides. Makes for a very custom look and the joinery and milling is already completed. I make these with my old drum stave veneers from back when I was a percussion instrument maker. Also works well as inlay material.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 3.75" | 7" | 0.085" |
Quilted Sapele. This is a bookmatched plate sanded clean both sides. Makes for a very custom look and the joinery and milling is already completed. I make these with my old drum stave veneers from back when I was a percussion instrument maker. Also works well as inlay material.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 4.5" | 71/2" | 0.15" |
Fiddleback Claro Walnut. Lots of potential variation for color and grain here but all are highly figured. Contact me with specific concerns. Headstock plates come off the production of other parts, and as such thickness may vary as well as whether the surface is planed, sanded, or bandsawn. Dimensions shown are minimums, and any bandsawn plates are supplied thick enough to account for sanding. Headstock plates are also used as inlay material.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 4.5" | 7.5" | 0.17" |
Figured Bastogne. These have a bandsawn surface so the figure is a bit obscured currently. Headstock plates come off the production of other parts, and as such thickness may vary as well as whether the surface is planed, sanded, or bandsawn. Dimensions shown are minimums, and any bandsawn plates are supplied thick enough to account for sanding. Headstock plates are also used as inlay material.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 4.0" | 7" | 0.125" |
Padauk. Straight with some minor ribbons. Headstock plates come off the production of other parts, and as such thickness may vary as well as whether the surface is planed, sanded, or bandsawn. Dimensions shown are minimums, and any bandsawn plates are supplied thick enough to account for sanding. Headstock plates are also used as inlay material.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 4.375" | 7.5" | 0.16" |
Super tight and straight Bubinga. Headstock plates come off the production of other parts, and as such thickness may vary as well as whether the surface is planed, sanded, or bandsawn. Dimensions shown are minimums, and any bandsawn plates are supplied thick enough to account for sanding. Headstock plates are also used as inlay material.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 4.5" | 7.5" | 0.15" |
Flat grain Bocote. Headstock plates come off the production of other parts, and as such thickness may vary as well as whether the surface is planed, sanded, or bandsawn. Dimensions shown are minimums, and any bandsawn plates are supplied thick enough to account for sanding. Headstock plates are also used as inlay material.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 3.375" | 7.5" | 0.15" |
Straight grain Bocote. Headstock plates come off the production of other parts, and as such thickness may vary as well as whether the surface is planed, sanded, or bandsawn. Dimensions shown are minimums, and any bandsawn plates are supplied thick enough to account for sanding. Headstock plates are also used as inlay material.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 4.5" | 7" | 0.16" |
Vertical grain Redwood. Headstock plates come off the production of other parts, and as such thickness may vary as well as whether the surface is planed, sanded, or bandsawn. Dimensions shown are minimums, and any bandsawn plates are supplied thick enough to account for sanding. Headstock plates are also used as inlay material.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 4.0" | 7" | 0.16" |
Flame Bigleaf Maple. Headstock plates come off the production of other parts, and as such thickness may vary as well as whether the surface is planed, sanded, or bandsawn. Dimensions shown are minimums, and any bandsawn plates are supplied thick enough to account for sanding. Headstock plates are also used as inlay material.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 4.0" | 7.5" | 0.13" |
Macassar Ebony. Contact me with specific concerns about dark/tan streaking. Headstock plates come off the production of other parts, and as such thickness may vary as well as whether the surface is planed, sanded, or bandsawn. Dimensions shown are minimums, and any bandsawn plates are supplied thick enough to account for sanding. Headstock plates are also used as inlay material.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 4.0" | 7.5" | 0.13" |
Claro Walnut. These are straight grain with some color lines. Headstock plates come off the production of other parts, and as such thickness may vary as well as whether the surface is planed, sanded, or bandsawn. Dimensions shown are minimums, and any bandsawn plates are supplied thick enough to account for sanding. Headstock plates are also used as inlay material.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 4.0" | 7" | 0.13" |
Mexican Cocobolo. Same material as the acoustic guitar sets currently available. Headstock plates come off the production of other parts, and as such thickness may vary as well as whether the surface is planed, sanded, or bandsawn. Dimensions shown are minimums, and any bandsawn plates are supplied thick enough to account for sanding. Headstock plates are also used as inlay material.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 4" | 7" | 0.13" |
Figured Oregon Myrtle. Headstock plates come off the production of other parts, and as such thickness may vary as well as whether the surface is planed, sanded, or bandsawn. Dimensions shown are minimums, and any bandsawn plates are supplied thicker than indicated here to account for sanding. Headstock plates are also used as inlay material.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 3.0" | 27" | 1" | q/r |
Probably the most non descript, even grained and even density claro walnut there will ever be. Boring stuff but perfect for necks! This run is remarkably similar to pattern grade mahogany, but with a walnutty flavor. Flamboyant it is not, but carves super nice and is very consistant. These are a mix of rift and quarter. Please contact me with any specific requirements.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 3.0" | 27" | 1" | q/r |
Myrtlewood from the southern Oregon coast. I picked up a couple loads of logs sustainably harvested by Coquille native people off their tribal land some years ago, and there's some nice neck material coming off it now. These are a mix of rift and quarter, and also of grey and pale yellow color. Contact me with any specific requirements.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 2.5" | 18" | 1" | q |
Claro walnut from some logs I rescued from becoming firewood back in 2009. Some lovely color streaks here and a bit on the denser side with a somewhat tighter pore pattern. Many many acoustic guitar necks came from this run but they are all gone now, just uke size stuff remains. These are well quartered but it you are interested in full vertical please contact me.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 3.0" | 30" | 1" | q |
Probably the most non descript, even grained and even density claro walnut there will ever be. Boring stuff but perfect for necks! This run is remarkably similar to pattern grade mahogany, but with a walnutty flavor. Flamboyant it is not, but carves super nice and is very consistant. These are well quartered but it you are interested in full vertical please contact me.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 2.5" | 18" | 1" | q |
Myrtlewood from the southern Oregon coast. I picked up a couple loads of logs sustainably harvested by Coquille native people off their tribal land some years ago, and there's some nice neck material coming off it now. These are very clean for myrtle, with some minor dark streaks possible here and there, and possibly some pretty great shimmer. Comes with a matching heel blank for stacked heel construction.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Dimensions | 3.0" | 30" | 1" | q |
Myrtlewood from the southern Oregon coast. I picked up a couple loads of logs sustainably harvested by Coquille native people off their tribal land some years ago, and there's some nice neck material coming off it now. These are very clean for myrtle, with some minor dark streaks possible here and there, and possibly some pretty great shimmer. Well quartered but if you are interested in full vertical please contact me. Comes with a matching heel blank for stacked heel construction.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 9" | 22" | 0.165" | q |
| Sides | 5" | 34" | 0.13" | q |
There's a lot going on here as you get closer to the stump end of the butt cut on this claro walnut. Compression figure bookmatches are always on the top of my list, especially the ones I can locate just below the waist area of the template as seen here, although a bit obscured by the camera and 120 grit belt sand.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 22" | 0.16" | q/r |
| Sides | 4 3/4" | 32" | 0.16" | q |
These come from some kiln dried 12/4 slabs cut about 10ft above the stump. The grain straightend out nicely and the figure becomes more regular and settled once you clear the craziness lower to the ground. Rich orangey dark browns here with good strong regular figure. The sapline is easily tapered out if you prefer it that way.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 5.5" | 14" | 0.13" | q |
| Sides | 2.5" | 22" | 0.13" | q |
Claro Walnut, juglans hindsii. These are meant for flat back mandolins, but have several other applications. I cut a lot of Claro for guitar sets so naturally there is also material for uke and mando sets most of the time. These have done surprisingly well, so I think I'll keep cutting for them. Generally, they come from one of three different batches of figured claro I am slowly working through. A batch could be part of a log, a whole log, or several logs from the same tree. This helps ensure consistency from set to set, so you can expect similar working and sound characteristics from a given batch.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 7.25" | 22" | 0.16" |
Sinker redwood, sequoia sempervirens, acoustic guitar top. Theses tops come from a log that was recovered from a bog where it had been since the mid 20th century, and was pulled out in 2021. Its called the Bog Log and these are the Rusty Salmon tops produced from it. But only a small handfull of the blocks from this log had the kind of streaking typically associated with sinker. Sinker doesn't have to mean streaky. These are flaming hot, dark, and the streaks can be slightly assymetrical. There is plenty of silk and other ribbony stuff going on too! All my redwood tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 7 - 7 7/8" | 22" | 0.18" |
Sinker redwood, sequoia sempervirens, acoustic guitar top. Theses tops come from a log that was recovered from a bog where it had been since the mid 20th century, and was pulled out in 2021. Its called the Bog Log and these are the Rusty Salmon tops produced from it. But only a small handfull of the blocks from this log had the kind of streaking typically associated with sinker. Sinker doesn't have to mean streaky. These are flaming hot, dark, and the streaks can be slightly assymetrical. There is plenty of silk and other ribbony stuff going on too! All my redwood tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 7.5" | 22" | 0.17" |
Sinker redwood, sequoia sempervirens, acoustic guitar top. Theses tops come from a log that was recovered from a bog where it had been since the mid 20th century, and was pulled out in 2021. Its called the Bog Log and these are the Rusty Salmon tops produced from it. But only a small handfull of the blocks from this log had the kind of streaking typically associated with sinker. Sinker doesn't have to mean streaky. These are flaming hot, dark, and the streaks can be slightly assymetrical. There is plenty of silk and other ribbony stuff going on too! All my redwood tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 7.625" | 22.0" | 0.195" |
Sinker redwood, sequoia sempervirens, acoustic guitar top. Theses tops come from a log that was recovered from a bog where it had been since the mid 20th century, and was pulled out in 2021. Its called the Bog Log and these are the Rusty Salmon tops produced from it. But only a small handfull of the blocks from this log had the kind of streaking typically associated with sinker. Sinker doesn't have to mean streaky. These are flaming hot, dark, and the streaks can be slightly assymetrical. There is plenty of silk and other ribbony stuff going on too! All my redwood tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 7.625" | 22.0" | 0.195" |
Sinker redwood, sequoia sempervirens, acoustic guitar top. Theses tops come from a log that was recovered from a bog where it had been since the mid 20th century, and was pulled out in 2021. Its called the Bog Log and these are the Rusty Salmon tops produced from it. But only a small handfull of the blocks from this log had the kind of streaking typically associated with sinker. Sinker doesn't have to mean streaky. These are flaming hot, dark, and the streaks can be slightly assymetrical. There is plenty of silk and other ribbony stuff going on too! All my redwood tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 8.25" | 22.0" | 0.175" |
Sinker redwood, sequoia sempervirens, acoustic guitar top. Theses tops come from a log that was recovered from a bog where it had been since the mid 20th century, and was pulled out in 2021. Its called the Bog Log and these are the Rusty Salmon tops produced from it. But only a small handfull of the blocks from this log had the kind of streaking typically associated with sinker. Sinker doesn't have to mean streaky. These are flaming hot, dark, and the streaks can be slightly assymetrical. There is plenty of silk and other ribbony stuff going on too! All my redwood tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 8.0" | 22.0" | 0.19" |
Sinker redwood, sequoia sempervirens, acoustic guitar top. Theses tops come from a log that was recovered from a bog where it had been since the mid 20th century, and was pulled out in 2021. Its called the Bog Log and these are the Rusty Salmon tops produced from it. But only a small handfull of the blocks from this log had the kind of streaking typically associated with sinker. Sinker doesn't have to mean streaky. These are flaming hot, dark, and the streaks can be slightly assymetrical. There is plenty of silk and other ribbony stuff going on too! All my redwood tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 8.0" | 22.0" | 0.185" |
Sinker redwood, sequoia sempervirens, acoustic guitar top. Theses tops come from a log that was recovered from a bog where it had been since the mid 20th century, and was pulled out in 2021. Its called the Bog Log and these are the Rusty Salmon tops produced from it. But only a small handfull of the blocks from this log had the kind of streaking typically associated with sinker. Sinker doesn't have to mean streaky. These are flaming hot, dark, and the streaks can be slightly assymetrical. There is plenty of silk and other ribbony stuff going on too! All my redwood tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 7.25" | 22.0" | 0.19" |
Sinker redwood, sequoia sempervirens, acoustic guitar top. Theses tops come from a log that was recovered from a bog where it had been since the mid 20th century, and was pulled out in 2021. Its called the Bog Log and these are the Rusty Salmon tops produced from it. But only a small handfull of the blocks from this log had the kind of streaking typically associated with sinker. Sinker doesn't have to mean streaky. These are flaming hot, dark, and the streaks can be slightly assymetrical. There is plenty of silk and other ribbony stuff going on too! All my redwood tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 8.5" | 22.0" | 0.165" |
Western Red Cedar, thuya plicata, acoustic guitar top. All my cedar tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. MC must fall below 8% before I clean up the plates for presentation on the website. There can be some residual band saw marks that remain and these may show as darker splotches but they will easily sand down no problem. Also, some sets have a coat of sealer on them to pop the color, others do not. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 8.5" | 22.0" | 0.17" |
Western Red Cedar, thuya plicata, acoustic guitar top. All my cedar tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. MC must fall below 8% before I clean up the plates for presentation on the website. There can be some residual band saw marks that remain and these may show as darker splotches but they will easily sand down no problem. Also, some sets have a coat of sealer on them to pop the color, others do not. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 5.375" | 12.75" | 0.14" | q |
| Sides | 1.75" | 20.0" | 0.14" | q |
Claro Walnut, juglans hindsii. These are meant for flat back mandolins, but have several other applications. I cut a lot of Claro for guitar sets so naturally there is also material for uke and mando sets most of the time. These have done surprisingly well, so I think I'll keep cutting for them. Generally, they come from one of three different batches of figured claro I am slowly working through. A batch could be part of a log, a whole log, or several logs from the same tree. This helps ensure consistency from set to set, so you can expect similar working and sound characteristics from a given batch.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 5.375" | 12.0" | 0.135" | q |
| Sides | 1.75" | 20.0" | 0.135" | q |
Claro Walnut, juglans hindsii. These are meant for flat back mandolins, but have several other applications. I cut a lot of Claro for guitar sets so naturally there is also material for uke and mando sets most of the time. These have done surprisingly well, so I think I'll keep cutting for them. Generally, they come from one of three different batches of figured claro I am slowly working through. A batch could be part of a log, a whole log, or several logs from the same tree. This helps ensure consistency from set to set, so you can expect similar working and sound characteristics from a given batch.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 6.0" | 14.0" | 0.13" | q |
| Sides | 1.75" | 20.0" | 0.13" | q |
Claro Walnut, juglans hindsii. These are meant for flat back mandolins, but have several other applications. I cut a lot of Claro for guitar sets so naturally there is also material for uke and mando sets most of the time. These have done surprisingly well, so I think I'll keep cutting for them. Generally, they come from one of three different batches of figured claro I am slowly working through. A batch could be part of a log, a whole log, or several logs from the same tree. This helps ensure consistency from set to set, so you can expect similar working and sound characteristics from a given batch.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 5.5" | 13.5" | 0.15" | q |
| Sides | 1.75" | 21.0" | 0.15" | q |
Claro Walnut, juglans hindsii. These are meant for flat back mandolins, but have several other applications. I cut a lot of Claro for guitar sets so naturally there is also material for uke and mando sets most of the time. These have done surprisingly well, so I think I'll keep cutting for them. Generally, they come from one of three different batches of figured claro I am slowly working through. A batch could be part of a log, a whole log, or several logs from the same tree. This helps ensure consistency from set to set, so you can expect similar working and sound characteristics from a given batch.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 9" | 22" | 0.175" |
Western Red Cedar, thuya plicata, acoustic guitar top. All my cedar tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. MC must fall below 8% before I clean up the plates for presentation on the website. There can be some residual band saw marks that remain and these may show as darker splotches but they will easily sand down no problem. Also, some sets have a coat of sealer on them to pop the color, others do not. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 8 1/2" | 22" | 0.175" |
Western Red Cedar, thuya plicata, acoustic guitar top. All my cedar tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. MC must fall below 8% before I clean up the plates for presentation on the website. There can be some residual band saw marks that remain and these may show as darker splotches but they will easily sand down no problem. Also, some sets have a coat of sealer on them to pop the color, others do not. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 8 1/2" | 22" | 0.175" |
Western Red Cedar, thuya plicata, acoustic guitar top. All my cedar tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. MC must fall below 8% before I clean up the plates for presentation on the website. There can be some residual band saw marks that remain and these may show as darker splotches but they will easily sand down no problem. Also, some sets have a coat of sealer on them to pop the color, others do not. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 8 1/4" | 22" | 0.18" |
Western Red Cedar, thuya plicata, acoustic guitar top. All my cedar tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. MC must fall below 8% before I clean up the plates for presentation on the website. There can be some residual band saw marks that remain and these may show as darker splotches but they will easily sand down no problem. Also, some sets have a coat of sealer on them to pop the color, others do not. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 8 1/2" | 22" | 0.175" |
Western Red Cedar, thuya plicata, acoustic guitar top. All my cedar tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. MC must fall below 8% before I clean up the plates for presentation on the website. There can be some residual band saw marks that remain and these may show as darker splotches but they will easily sand down no problem. Also, some sets have a coat of sealer on them to pop the color, others do not. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 8 1/2" | 22" | 0.175" |
Western Red Cedar, thuya plicata, acoustic guitar top. All my cedar tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. MC must fall below 8% before I clean up the plates for presentation on the website. There can be some residual band saw marks that remain and these may show as darker splotches but they will easily sand down no problem. Also, some sets have a coat of sealer on them to pop the color, others do not. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 7 3/4" | 22" | 0.17" |
Western Red Cedar, thuya plicata, acoustic guitar top. All my cedar tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. MC must fall below 8% before I clean up the plates for presentation on the website. There can be some residual band saw marks that remain and these may show as darker splotches but they will easily sand down no problem. Also, some sets have a coat of sealer on them to pop the color, others do not. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 8" | 21" | 0.18" |
Western Red Cedar, thuya plicata, acoustic guitar top. All my cedar tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. MC must fall below 8% before I clean up the plates for presentation on the website. There can be some residual band saw marks that remain and these may show as darker splotches but they will easily sand down no problem. Also, some sets have a coat of sealer on them to pop the color, others do not. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 8" | 21" | 0.175" |
Western Red Cedar, thuya plicata, acoustic guitar top. All my cedar tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. MC must fall below 8% before I clean up the plates for presentation on the website. There can be some residual band saw marks that remain and these may show as darker splotches but they will easily sand down no problem. Also, some sets have a coat of sealer on them to pop the color, others do not. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 9" | 21" | 0.165" |
Western Red Cedar, thuya plicata, acoustic guitar top. All my cedar tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. MC must fall below 8% before I clean up the plates for presentation on the website. There can be some residual band saw marks that remain and these may show as darker splotches but they will easily sand down no problem. Also, some sets have a coat of sealer on them to pop the color, others do not. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 8 1/2" | 22" | 0.21" |
Western Red Cedar, thuya plicata, acoustic guitar top. All my cedar tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. MC must fall below 8% before I clean up the plates for presentation on the website. There can be some residual band saw marks that remain and these may show as darker splotches but they will easily sand down no problem. Also, some sets have a coat of sealer on them to pop the color, others do not. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 8 1/2" | 22" | 0.17" |
Western Red Cedar, thuya plicata, acoustic guitar top. All my cedar tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. MC must fall below 8% before I clean up the plates for presentation on the website. There can be some residual band saw marks that remain and these may show as darker splotches but they will easily sand down no problem. Also, some sets have a coat of sealer on them to pop the color, others do not. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 9" | 22" | 0.18" |
Western Red Cedar, thuya plicata, acoustic guitar top. All my cedar tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. MC must fall below 8% before I clean up the plates for presentation on the website. There can be some residual band saw marks that remain and these may show as darker splotches but they will easily sand down no problem. Also, some sets have a coat of sealer on them to pop the color, others do not. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 8 1/2" | 22" | 0.18" |
Western Red Cedar, thuya plicata, acoustic guitar top. All my cedar tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. MC must fall below 8% before I clean up the plates for presentation on the website. There can be some residual band saw marks that remain and these may show as darker splotches but they will easily sand down no problem. Also, some sets have a coat of sealer on them to pop the color, others do not. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 8" | 20 3/4" | 0.21" |
Western Red Cedar, thuya plicata, acoustic guitar top. All my cedar tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. MC must fall below 8% before I clean up the plates for presentation on the website. There can be some residual band saw marks that remain and these may show as darker splotches but they will easily sand down no problem. Also, some sets have a coat of sealer on them to pop the color, others do not. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 8" | 22" | 0.205" |
Western Red Cedar, thuya plicata, acoustic guitar top. All my cedar tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. MC must fall below 8% before I clean up the plates for presentation on the website. There can be some residual band saw marks that remain and these may show as darker splotches but they will easily sand down no problem. Also, some sets have a coat of sealer on them to pop the color, others do not. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 8" | 22" | 0.215" |
Western Red Cedar, thuya plicata, acoustic guitar top. All my cedar tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. MC must fall below 8% before I clean up the plates for presentation on the website. There can be some residual band saw marks that remain and these may show as darker splotches but they will easily sand down no problem. Also, some sets have a coat of sealer on them to pop the color, others do not. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 8 1/2" | 21" | 0.215" |
Western Red Cedar, thuya plicata, acoustic guitar top. All my cedar tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. MC must fall below 8% before I clean up the plates for presentation on the website. There can be some residual band saw marks that remain and these may show as darker splotches but they will easily sand down no problem. Also, some sets have a coat of sealer on them to pop the color, others do not. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 8" | 20 1/2" | 0.21" |
Western Red Cedar, thuya plicata, acoustic guitar top. All my cedar tops come from twice hand split old growth blocks that have been double culled. This means that they are hand selected as blocks at the source and then hand selected by me at the time I load them. Then I further hand split them down to manageable on-quarter splits that are milled into top plates, which are stacked and stickered for air drying here in the high desert. MC must fall below 8% before I clean up the plates for presentation on the website. There can be some residual band saw marks that remain and these may show as darker splotches but they will easily sand down no problem. Also, some sets have a coat of sealer on them to pop the color, others do not. You can always contact me for more pics of any particular set.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/4 - 9 3/4" | 22" | 0.175" | r |
| Sides | 5 1/2" | 32" | 0.14" | q |
These come from some kiln dried 12/4 slabs cut about 10ft above the stump. The grain straightend out nicely and the figure becomes more regular and settled once you clear the craziness lower to the ground. Rich orangey dark browns here with good strong regular figure. The sapline is easily tapered out if you prefer it that way.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/4 - 9 1/2" | 22" | 0.175" | r |
| Sides | 5 1/2" | 32" | 0.145" | q |
These come from some kiln dried 12/4 slabs cut about 10ft above the stump. The grain straightend out nicely and the figure becomes more regular and settled once you clear the craziness lower to the ground. Rich orangey dark browns here with good strong regular figure. The sapline is easily tapered out if you prefer it that way.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/4 - 9 1/2" | 22" | 0.165" | q |
| Sides | 5 1/2" | 32" | 0.15" | q/r |
These come from some kiln dried 12/4 slabs cut about 10ft above the stump. The grain straightend out nicely and the figure becomes more regular and settled once you clear the craziness lower to the ground. Rich orangey dark browns here with good strong regular figure. The sapline is easily tapered out if you prefer it that way.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 5/8 - 9 5/8" | 22" | 0.18" | r |
| Sides | 5 1/2" | 32" | 0.14" | r |
These come from some kiln dried 12/4 slabs cut about 10ft above the stump. The grain straightend out nicely and the figure becomes more regular and settled once you clear the craziness lower to the ground. Rich orangey dark browns here with good strong regular figure. The sapline is easily tapered out if you prefer it that way.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 22" | 0.16" | q |
| Sides | 5 1/2" | 34" | 0.13" | r |
One of the most unique yet straight and consistant sets to come through the shop to date. There were 3 of these, one sold at a show, another is still stickered up. Dark but colorful with fine curl woven throughout. One of my all time favorite sets!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 22" | 0.165" | q |
| Sides | 5" | 32" | 0.165" | q |
Further up from the butt end of the primary log the grain, color, and figure start to level out and here we have a few examples of very clean straight grain and figure. Highly controlled, consistant, and regular figure throughout.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 9 1/4" | 22" | 0.165" | q |
| Sides | 5" | 32" | 0.165" | q |
Further up from the butt end of the primary log the grain, color, and figure start to level out and here we have a few examples of very clean straight grain and figure. The sapwood is easily ripped or tapered into a narrower presentation or perhaps removed altogether for a smaller body guitar. Highly controlled, consistant, and regular figure throughout.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 9" | 22" | 0.16" | r |
| Sides | 5" | 32" | 0.165" | q |
The unique complexion of minerals in Willamette Valley soil help impart the impossible hues sometimes found in claro walnut, especially down near the stump end of the primary cut, and that is the case here. Just have a couple of these with the carmel golden lightning spike.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 9" | 22" | 0.16" | q |
| Sides | 5" | 34" | 0.12" | q |
There's a lot going on here as you get closer to the stump end of the butt cut on this claro walnut. Compression figure bookmatches are always on the top of my list, especially the ones I can locate just below the waist area of the template as seen here, although a bit obscured by the camera and 120 grit belt sand.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 7 3/4 - 8 3/4" | 22" | 0.175" | r |
| Sides | 5" | 32" | 0.165" | r |
The unique complexion of minerals in Willamette Valley soil help impart the impossible hues sometimes found in claro walnut, especially down near the stump end of the primary cut, and that is the case here. Just have a couple of these with the carmel golden lightning spike.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 22" | 0.165" | q/r |
| Sides | 5" | 32" | 0.14" | r |
I milled a nice clean claro log into some 6/4 back in 2012, and started cutting sets off the lumber spring 2025. Air dryed here in the High Desert 13 years. Unfigured, but with coloration similar to that of bastogne walnut. It's supple wood and works well. I have enjoyed bookmatching these, the grain is pretty active and each set has its own unique way of matching up. This could be affected further by trimming the plates, potentially with a taper at the glue joint, for a completely new visual. These are somewhat porous, similar to mahogany. For more dense walnut check out my figured claro or bastogne sets.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 9" | 22" | 0.165" | q/r |
| Sides | 5" | 31 7/8" | 0.14" | q/r |
I milled a nice clean claro log into some 6/4 back in 2012, and started cutting sets off the lumber spring 2025. Air dryed here in the High Desert 13 years. Unfigured, but with coloration similar to that of bastogne walnut. It's supple wood and works well. I have enjoyed bookmatching these, the grain is pretty active and each set has its own unique way of matching up. This could be affected further by trimming the plates, potentially with a taper at the glue joint, for a completely new visual. These are somewhat porous, similar to mahogany. For more dense walnut check out my figured claro or bastogne sets.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 21 7/8" | 0.165" | q |
| Sides | 4 3/4" | 33" | 0.14" | r |
I milled a nice clean claro log into some 6/4 back in 2012, and started cutting sets off the lumber spring 2025. Air dryed here in the High Desert 13 years. Unfigured, but with coloration similar to that of bastogne walnut. It's supple wood and works well. I have enjoyed bookmatching these, the grain is pretty active and each set has its own unique way of matching up. This could be affected further by trimming the plates, potentially with a taper at the glue joint, for a completely new visual. These are somewhat porous, similar to mahogany. For more dense walnut check out my figured claro or bastogne sets.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 22" | 0.16" | q |
| Sides | 4 3/4" | 33" | 0.15" | q |
I milled a nice clean claro log into some 6/4 back in 2012, and started cutting sets off the lumber spring 2025. Air dryed here in the High Desert 13 years. Unfigured, but with coloration similar to that of bastogne walnut. It's supple wood and works well. I have enjoyed bookmatching these, the grain is pretty active and each set has its own unique way of matching up. This could be affected further by trimming the plates, potentially with a taper at the glue joint, for a completely new visual. These are somewhat porous, similar to mahogany. For more dense walnut check out my figured claro or bastogne sets.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 9" | 21 1/2" | 0.16" | q |
| Sides | 4 3/4" | 33" | 0.14" | r |
I milled a nice clean claro log into some 6/4 back in 2012, and started cutting sets off the lumber spring 2025. Air dryed here in the High Desert 13 years. Unfigured, but with coloration similar to that of bastogne walnut. It's supple wood and works well. I have enjoyed bookmatching these, the grain is pretty active and each set has its own unique way of matching up. This could be affected further by trimming the plates, potentially with a taper at the glue joint, for a completely new visual. These are somewhat porous, similar to mahogany. For more dense walnut check out my figured claro or bastogne sets.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 22" | 0.165" | q |
| Sides | 4 3/4" | 33" | 0.14" | r |
I milled a nice clean claro log into some 6/4 back in 2012, and started cutting sets off the lumber spring 2025. Air dryed here in the High Desert 13 years. Unfigured, but with coloration similar to that of bastogne walnut. It's supple wood and works well. I have enjoyed bookmatching these, the grain is pretty active and each set has its own unique way of matching up. This could be affected further by trimming the plates, potentially with a taper at the glue joint, for a completely new visual. These are somewhat porous, similar to mahogany. For more dense walnut check out my figured claro or bastogne sets.
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