| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 22" | 0.165" | r |
| 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 | 9" | 22" | 0.16" | q |
| Sides | 5" | 32" | 0.14" | 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" | 22" | 0.17" | 9-r |
| Sides | 5" | 32" | 0.1" | 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 | 8 3/4" | 22" | 0.16" | q |
| 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" | 21 1/2" | 0.16" | q |
| Sides | 4 3/4" | 33" | 0.13" | 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 | 7 3/4" | 21 1/2" | 0.16" | q |
| Sides | 5" | 32" | 0.145" | 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" | 22" | 0.16" | q-r |
| Sides | 5" | 32" | 0.14" | 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" | 22" | 0.155" | q |
| Sides | 5" | 32" | 0.14" | 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 | 8 1/4" | 22" | 0.18" | r |
| Sides | 5" | 32" | 0.13" | r |
Cocobolo! aka Mexican Rosewood, dalbergia retusa I believe but I can't say for sure as I found 4 nice boards, up to 12" wide, in a garage out on some farm property between Portland and Mt.Hood. The guy had come to realize he wasn't going to get to cutting all his wood in his remaining years, and told me he had bought the boards 25 years earlier. I deliberately cut these for less yield but better matching sets, that is, all sides were cut proximate to the backs and from the very same board, eventhough a few of the boards were very similar. Dense, tough material. Wear a mask! Cocobolo is on the CITES list as such there is no international shipping on these sorry.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/4" | 22" | 0.185" | r |
| Sides | 5" | 32" | 0.13" | r |
Cocobolo! aka Mexican Rosewood, dalbergia retusa I believe but I can't say for sure as I found 4 nice boards, up to 12" wide, in a garage out on some farm property between Portland and Mt.Hood. The guy had come to realize he wasn't going to get to cutting all his wood in his remaining years, and told me he had bought the boards 25 years earlier. I deliberately cut these for less yield but better matching sets, that is, all sides were cut proximate to the backs and from the very same board, eventhough a few of the boards were very similar. Dense, tough material. Wear a mask! Cocobolo is on the CITES list as such there is no international shipping on these sorry.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/8" | 22" | 0.19" | r |
| Sides | 5 1/4" | 32" | 0.13" | r |
Cocobolo! aka Mexican Rosewood, dalbergia retusa I believe but I can't say for sure as I found 4 nice boards, up to 12" wide, in a garage out on some farm property between Portland and Mt.Hood. The guy had come to realize he wasn't going to get to cutting all his wood in his remaining years, and told me he had bought the boards 25 years earlier. I deliberately cut these for less yield but better matching sets, that is, all sides were cut proximate to the backs and from the very same board, eventhough a few of the boards were very similar. Dense, tough material. Wear a mask! Cocobolo is on the CITES list as such there is no international shipping on these sorry.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 22 1/4" | 0.145" | r |
| Sides | 5 1/8" | 32 1/2" | 0.13" | r |
Cocobolo! aka Mexican Rosewood, dalbergia retusa I believe but I can't say for sure as I found 4 nice boards, up to 12" wide, in a garage out on some farm property between Portland and Mt.Hood. The guy had come to realize he wasn't going to get to cutting all his wood in his remaining years, and told me he had bought the boards 25 years earlier. I deliberately cut these for less yield but better matching sets, that is, all sides were cut proximate to the backs and from the very same board, eventhough a few of the boards were very similar. Dense, tough material. Wear a mask! Cocobolo is on the CITES list as such there is no international shipping on these sorry.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/4" | 22" | 0.195" | r |
| Sides | 5 3/8" | 33 3/4" | 0.135" | r |
Cocobolo! aka Mexican Rosewood, dalbergia retusa I believe but I can't say for sure as I found 4 nice boards, up to 12" wide, in a garage out on some farm property between Portland and Mt.Hood. The guy had come to realize he wasn't going to get to cutting all his wood in his remaining years, and told me he had bought the boards 25 years earlier. I deliberately cut these for less yield but better matching sets, that is, all sides were cut proximate to the backs and from the very same board, eventhough a few of the boards were very similar. Dense, tough material. Wear a mask! Cocobolo is on the CITES list as such there is no international shipping on these sorry.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 3/8" | 22" | 0.155" | r |
| Sides | 5 1/4" | 33 3/4" | 0.13" | r |
Cocobolo! aka Mexican Rosewood, dalbergia retusa I believe but I can't say for sure as I found 4 nice boards, up to 12" wide, in a garage out on some farm property between Portland and Mt.Hood. The guy had come to realize he wasn't going to get to cutting all his wood in his remaining years, and told me he had bought the boards 25 years earlier. I deliberately cut these for less yield but better matching sets, that is, all sides were cut proximate to the backs and from the very same board, eventhough a few of the boards were very similar. Dense, tough material. Wear a mask! Cocobolo is on the CITES list as such there is no international shipping on these sorry.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 3/8" | 22" | 0.16" | r |
| Sides | 5" | 32" | 0.13" | r |
Cocobolo! aka Mexican Rosewood, dalbergia retusa I believe but I can't say for sure as I found 4 nice boards, up to 12" wide, in a garage out on some farm property between Portland and Mt.Hood. The guy had come to realize he wasn't going to get to cutting all his wood in his remaining years, and told me he had bought the boards 25 years earlier. I deliberately cut these for less yield but better matching sets, that is, all sides were cut proximate to the backs and from the very same board, eventhough a few of the boards were very similar. Dense, tough material. Wear a mask! Cocobolo is on the CITES list as such there is no international shipping on these sorry.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/4" | 22" | 0.145" | f |
| Sides | 5" | 34" | 0.13" | f |
Cocobolo! aka Mexican Rosewood, dalbergia retusa I believe but I can't say for sure as I found 4 nice boards, up to 12" wide, in a garage out on some farm property between Portland and Mt.Hood. The guy had come to realize he wasn't going to get to cutting all his wood in his remaining years, and told me he had bought the boards 25 years earlier. I deliberately cut these for less yield but better matching sets, that is, all sides were cut proximate to the backs and from the very same board, eventhough a few of the boards were very similar. Dense, tough material. Wear a mask! Cocobolo is on the CITES list as such there is no international shipping on these sorry....some minor cup on this one please be aware.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 22 3/8" | 0.155" | r |
| Sides | 5 1/4" | 32 3/8" | 0.09" | r |
Cocobolo! aka Mexican Rosewood, dalbergia retusa I believe but I can't say for sure as I found 4 nice boards, up to 12" wide, in a garage out on some farm property between Portland and Mt.Hood. The guy had come to realize he wasn't going to get to cutting all his wood in his remaining years, and told me he had bought the boards 25 years earlier. I deliberately cut these for less yield but better matching sets, that is, all sides were cut proximate to the backs and from the very same board, eventhough a few of the boards were very similar. Dense, tough material. Wear a mask! Cocobolo is on the CITES list as such there is no international shipping on these sorry.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/8" | 22" | 0.17" | f |
| Sides | 5" | 32 1/2" | 0.15" | f |
I found some quilt in someone's storage out in the desert, particularly some that was old enough to have been stamped by a mill that went under a long time ago, thereby helping me to guestimate how long the material had been sitting around. Just a couple sets left from it now.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/4" | 22" | 0.16" | q |
| Sides | 4 7/8" | 31 1/4" | 0.17" | q |
A friend of mine got this log a few years back and I've been getting some really nice, strong curl fiddleback sets from the 12/4 he milled. The first round of these went to Collings in TX and Thompson here in OR, for their custom shops. These are round 2, still some color and sapwood lines to either use or work around, but no bloodheart on these. Figure is strong and regular.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/4" | 22" | 0.15" | q |
| Sides | 5" | 32" | 0.165" | q |
A friend of mine got this log a few years back and I've been getting some really nice, strong curl fiddleback sets from the 12/4 he milled. The first round of these went to Collings in TX and Thompson here in OR, for their custom shops. These are round 2, still some color and sapwood lines to either use or work around, but no bloodheart on these. Figure is strong and regular.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 9" | 22" | 0.16" | r |
| Sides | 4 7/8" | 32" | 0.25" | r |
A friend of mine got this log a few years back and I've been getting some really nice, strong curl fiddleback sets from the 12/4 he milled. The first round of these went to Collings in TX and Thompson here in OR, for their custom shops. These are round 2, still some color and sapwood lines to either use or work around, but no bloodheart on these. Figure is strong and regular.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 21 3/4" | 0.17" | q |
| Sides | 5 1/2" | 32" | 0.15" | q/r |
Oregon Myrtle, from the SW Oregon coastal region. In addition to the figured stuff, I like to acquire tight clean straight round myrtle logs, which tend to yield me sets like these - straight and colorful, maybe some ribbons of micro curl here and there, and hopefully some wispy black line stuff which has nothing to so with spalt when it comes to myrtle. Every set is unique, but the way I saw the logs keeps things pretty nice and consistant for the species. All these plates are good, even density material, air dried here in the High Desert of Central Oregon.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 22" | 0.16" | q-r |
| Sides | 5" | 32" | 0.145" | q |
Oregon Myrtle, from the SW Oregon coastal region. In addition to the figured stuff, I like to acquire tight clean straight round myrtle logs, which tend to yield me sets like these - straight and colorful, maybe some ribbons of micro curl here and there, and hopefully some wispy black line stuff which has nothing to so with spalt when it comes to myrtle. Every set is unique, but the way I saw the logs keeps things pretty nice and consistant for the species. All these plates are good, even density material, air dried here in the High Desert of Central Oregon.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 21" | 0.165" | q-r |
| Sides | 5" | 33 5/8" | 0.145" | q |
Oregon Myrtle, from the SW Oregon coastal region. In addition to the figured stuff, I like to acquire tight clean straight round myrtle logs, which tend to yield me sets like these - straight and colorful, maybe some ribbons of micro curl here and there, and hopefully some wispy black line stuff which has nothing to so with spalt when it comes to myrtle. Every set is unique, but the way I saw the logs keeps things pretty nice and consistant for the species. All these plates are good, even density material, air dried here in the High Desert of Central Oregon.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 22" | 0.165" | q |
| Sides | 5" | 32" | 0.14" | q |
Oregon Myrtle, from the SW Oregon coastal region. In addition to the figured stuff, I like to acquire tight clean straight round myrtle logs, which tend to yield me sets like these - straight and colorful, maybe some ribbons of micro curl here and there, and hopefully some wispy black line stuff which has nothing to so with spalt when it comes to myrtle. Every set is unique, but the way I saw the logs keeps things pretty nice and consistant for the species. All these plates are good, even density material, air dried here in the High Desert of Central Oregon.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 6 7/8 - 10" | 21 7/8" | 0.18" | q |
| Sides | 4 3/4" | 32" | 0.155" | r |
A friend of mine got this log a few years back and I've been getting some really nice, strong curl fiddleback sets from the 12/4 he milled. The first round of these went to Collings in TX and Thompson here in OR, for their custom shops. These are round 2, still some color and sapwood lines to either use or work around, but no bloodheart on these. Figure is strong and regular.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 9" | 21 1/2" | 0.153" | q |
| Sides | 4 7/8" | 33" | 0.165" | q |
A friend of mine got this log a few years back and I've been getting some really nice, strong curl fiddleback sets from the 12/4 he milled. The first round of these went to Collings in TX and Thompson here in OR, for their custom shops. These are round 2, still some color and sapwood lines to either use or work around, but no bloodheart on these. Figure is strong and regular.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 9 1/2" | 21 1/2" | 0.173" | q |
| Sides | 4 3/4" | 33" | 0.155" | r |
A friend of mine got this log a few years back and I've been getting some really nice, strong curl fiddleback sets from the 12/4 he milled. The first round of these went to Collings in TX and Thompson here in OR, for their custom shops. These are round 2, still some color and sapwood lines to either use or work around, but no bloodheart on these. Figure is strong and regular.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 9" | 22" | 0.15" | q |
| Sides | 5" | 32" | 0.135" | 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 1/4" | 22" | 0.16" | q |
| Sides | 5" | 32" | 0.135" | 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 | 9 1/4" | 22" | 0.16" | q |
| Sides | 5" | 32" | 0.135" | 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 | 5" | 32" | 0.16" | 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 | 8 1/2" | 22" | 0.16" | q |
| Sides | 5" | 32" | 0.135" | 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" | 22" | 0.16" | q |
| Sides | 5" | 32" | 0.135" | 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 | 7 5/8 - 8 3/8" | 22" | 0.16" | q |
| Sides | 5" | 30 3/4" | 0.13" | q |
The thing about myrtle, in this case Oregon Myrtlewood, is that you never can tell how far the figure will go across the quartered face when you are looking at the ripples on the cambium layer just under the bark on a clean nice round log. While this is also the case for any fiddleback log of any species, its especially a thing with myrtle. So the figure on these is good but may either block out across the plate or wane altogether. Still good nice material - bends well, polishes great, crisp reflective tone - but not the most fully figured myrtle of your life or mine. An affordable way to get into some myrtle sets and see what the buzz is all about with this up and coming species from the southern Oregon coast.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 22" | 0.155" | q |
| Sides | 5" | 32" | 0.135" | q |
The thing about myrtle, in this case Oregon Myrtlewood, is that you never can tell how far the figure will go across the quartered face when you are looking at the ripples on the cambium layer just under the bark on a clean nice round log. While this is also the case for any fiddleback log of any species, its especially a thing with myrtle. So the figure on these is good but may either block out across the plate or wane altogether. Still good nice material - bends well, polishes great, crisp reflective tone - but not the most fully figured myrtle of your life or mine. An affordable way to get into some myrtle sets and see what the buzz is all about with this up and coming species from the southern Oregon coast.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 9" | 22" | 0.155" | q |
| Sides | 5" | 32" | 0.155" | q |
The thing about myrtle, in this case Oregon Myrtlewood, is that you never can tell how far the figure will go across the quartered face when you are looking at the ripples on the cambium layer just under the bark on a clean nice round log. While this is also the case for any fiddleback log of any species, its especially a thing with myrtle. So the figure on these is good but may either block out across the plate or wane altogether. Still good nice material - bends well, polishes great, crisp reflective tone - but not the most fully figured myrtle of your life or mine. An affordable way to get into some myrtle sets and see what the buzz is all about with this up and coming species from the southern Oregon coast.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2 - 9 1/4" | 22" | 0.175" | q/r |
| Sides | 5" | 32" | 0.125" | q/r |
The thing about myrtle, in this case Oregon Myrtlewood, is that you never can tell how far the figure will go across the quartered face when you are looking at the ripples on the cambium layer just under the bark on a clean nice round log. While this is also the case for any fiddleback log of any species, its especially a thing with myrtle. So the figure on these is good but may either block out across the plate or wane altogether. Still good nice material - bends well, polishes great, crisp reflective tone - but not the most fully figured myrtle of your life or mine. An affordable way to get into some myrtle sets and see what the buzz is all about with this up and coming species from the southern Oregon coast.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 7/8" | 21 3/4" | 0.165" | q |
| Sides | 5" | 31 3/4" | 0.14" | q |
There is a version of Black Walnut, juglans nigra, that grows in Oregon's Willamette Valley, most of it is pretty unremarkable, but I had my pick of the most premium slab off a particular very large western black flitch, and I'm quite happy with the resulting sets. Strong, little bit broken figure, and really rich unique purple browns going on. This is from the particular complexion of the soils in the region. Also, black walnut has a smaller pore pattern than claro, making for slightly more dense material, generally speaking. Western black of this quality is very rare, and this is the best I've ever come across.....couple tiny pinholes at the bookmatch up near the neck joint will need a little fill or they can be easily tapered out.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 3/4" | 22" | 0.16" | q |
| Sides | 5" | 32" | 0.155" | q |
There is a version of Black Walnut, juglans nigra, that grows in Oregon's Willamette Valley, most of it is pretty unremarkable, but I had my pick of the most premium slab off a particular very large western black flitch, and I'm quite happy with the resulting sets. Strong, little bit broken figure, and really rich unique purple browns going on. This is from the particular complexion of the soils in the region. Also, black walnut has a smaller pore pattern than claro, making for slightly more dense material, generally speaking. Western black of this quality is very rare, and this is the best I've ever come across.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 9" | 22" | 0.17" | q |
| Sides | 5" | 32" | 0.135" | q |
There is a version of Black Walnut, juglans nigra, that grows in Oregon's Willamette Valley, most of it is pretty unremarkable, but I had my pick of the most premium slab off a particular very large western black flitch, and I'm quite happy with the resulting sets. Strong, little bit broken figure, and really rich unique purple browns going on. This is from the particular complexion of the soils in the region. Also, black walnut has a smaller pore pattern than claro, making for slightly more dense material, generally speaking. Western black of this quality is very rare, and this is the best I've ever come across.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 9" | 22" | 0.17" | q |
| Sides | 5" | 32" | 0.135" | q |
There is a version of Black Walnut, juglans nigra, that grows in Oregon's Willamette Valley, most of it is pretty unremarkable, but I had my pick of the most premium slab off a particular very large western black flitch, and I'm quite happy with the resulting sets. Strong, little bit broken figure, and really rich unique purple browns going on. This is from the particular complexion of the soils in the region. Also, black walnut has a smaller pore pattern than claro, making for slightly more dense material, generally speaking. Western black of this quality is very rare, and this is the best I've ever come across.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 9" | 21 3/4" | 0.16" | q |
| Sides | 5" | 31 1/4" | 0.14" | q |
There is a version of Black Walnut, juglans nigra, that grows in Oregon's Willamette Valley, most of it is pretty unremarkable, but I had my pick of the most premium slab off a particular very large western black flitch, and I'm quite happy with the resulting sets. Strong, little bit broken figure, and really rich unique purple browns going on. This is from the particular complexion of the soils in the region. Also, black walnut has a smaller pore pattern than claro, making for slightly more dense material, generally speaking. Western black of this quality is very rare, and this is the best I've ever come across.....couple tiny little pin holes in the backs that will need some fill.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 9" | 21 3/4" | 0.16" | q |
| Sides | 5" | 33" | 0.14" | q |
There is a version of Black Walnut, juglans nigra, that grows in Oregon's Willamette Valley, most of it is pretty unremarkable, but I had my pick of the most premium slab off a particular very large western black flitch, and I'm quite happy with the resulting sets. Strong, little bit broken figure, and really rich unique purple browns going on. This is from the particular complexion of the soils in the region. Also, black walnut has a smaller pore pattern than claro, making for slightly more dense material, generally speaking. Western black of this quality is very rare, and this is the best I've ever come across......there is a small pinhole on the lefthand back plate up near the neck joint that will need a tiny bit of fill.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 9" | 22" | 0.175" | q |
| Sides | 5" | 32 1/2" | 0.145" | q |
There is a version of Black Walnut, juglans nigra, that grows in Oregon's Willamette Valley, most of it is pretty unremarkable, but I had my pick of the most premium slab off a particular very large western black flitch, and I'm quite happy with the resulting sets. Strong, little bit broken figure, and really rich unique purple browns going on. This is from the particular complexion of the soils in the region. Also, black walnut has a smaller pore pattern than claro, making for slightly more dense material, generally speaking. Western black of this quality is very rare, and this is the best I've ever come across.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 9" | 22" | 0.155" | q |
| Sides | 4 3/4" | 32" | 0.155" | r |
There is a version of Black Walnut, juglans nigra, that grows in Oregon's Willamette Valley, most of it is pretty unremarkable, but I had my pick of the most premium slab off a particular very large western black flitch, and I'm quite happy with the resulting sets. Strong, little bit broken figure, and really rich unique purple browns going on. This is from the particular complexion of the soils in the region. Also, black walnut has a smaller pore pattern than claro, making for slightly more dense material, generally speaking. Western black of this quality is very rare, and this is the best I've ever come across.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 9" | 22" | 0.17" | q |
| Sides | 5" | 32" | 0.14" | q/r |
There is a version of Black Walnut, juglans nigra, that grows in Oregon's Willamette Valley, most of it is pretty unremarkable, but I had my pick of the most premium slab off a particular very large western black flitch, and I'm quite happy with the resulting sets. Strong, little bit broken figure, and really rich unique purple browns going on. This is from the particular complexion of the soils in the region. Also, black walnut has a smaller pore pattern than claro, making for slightly more dense material, generally speaking. Western black of this quality is very rare, and this is the best I've ever come across.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 5/8" | 22" | 0.155" | q |
| Sides | 5 1/4" | 32" | 0.155" | q |
There is a version of Black Walnut, juglans nigra, that grows in Oregon's Willamette Valley, most of it is pretty unremarkable, but I had my pick of the most premium slab off a particular very large western black flitch, and I'm quite happy with the resulting sets. Strong, little bit broken figure, and really rich unique purple browns going on. This is from the particular complexion of the soils in the region. Also, black walnut has a smaller pore pattern than claro, making for slightly more dense material, generally speaking. Western black of this quality is very rare, and this is the best I've ever come across.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 22" | 0.165" | q |
| Sides | 5 1/2" | 33" | 0.135" | q |
Some of the finest Bastogne walnut there will ever be. Bastogne is a cross between a claro and an english walnut, resulting in material that is more dense than claro, with more pronounced color patterns, typically carmel oranges and purples. Its not always figured, but oftentimes is, at least in the butt cut. These sets come from a legendary flitch that was left to air dry here in the desert for approximately 35 yrs. The tree was felled near the Oregon California border around 1990. A few years ago the owner passed away and the family decided it was time to start letting some of it go. Since I'd been asking for several years, they offered some to me. They liked the idea that it would become guitars. From the very first cut, I knew I was on some special stuff. The wood is crisp and dense in a way most walnut is not, but still works and cuts easily. The plates are amazingly stable and solid. The maturity of the grain and how it works is yesteryear in nature. Maybe its because the tree was very old. Maybe its because it is air dryed 35 years. Either way, this is once in a lifetime dinosaur wood. You will not be disappointed.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 9" | 22" | 0.17" | q |
| Sides | 5 1/2" | 33" | 0.13" | q |
Some of the finest Bastogne walnut there will ever be. Bastogne is a cross between a claro and an english walnut, resulting in material that is more dense than claro, with more pronounced color patterns, typically carmel oranges and purples. Its not always figured, but oftentimes is, at least in the butt cut. These sets come from a legendary flitch that was left to air dry here in the desert for approximately 35 yrs. The tree was felled near the Oregon California border around 1990. A few years ago the owner passed away and the family decided it was time to start letting some of it go. Since I'd been asking for several years, they offered some to me. They liked the idea that it would become guitars. From the very first cut, I knew I was on some special stuff. The wood is crisp and dense in a way most walnut is not, but still works and cuts easily. The plates are amazingly stable and solid. The maturity of the grain and how it works is yesteryear in nature. Maybe its because the tree was very old. Maybe its because it is air dryed 35 years. Either way, this is once in a lifetime dinosaur wood. You will not be disappointed.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 22" | 0.165" | q |
| Sides | 5" | 31 3/8" | 0.135" | q |
So here's the Milky Way run of claro walnut, a couple of sister logs I stepped in back in 2013. The trees were cut from private land, usually called yard trees, in the Willamette Valley, south of Corvallis. Named for the milk chocolate almost backlit glow of the mostly mid tone brown, with some darker streaks as well. These are highly figured plates, easy to work with and stable throughout the resawing process.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 22" | 0.16" | q |
| Sides | 5" | 33" | 0.155" | q |
So here's the Milky Way run of claro walnut, a couple of sister logs I stepped in back in 2013. The trees were cut from private land, usually called yard trees, in the Willamette Valley, south of Corvallis. Named for the milk chocolate almost backlit glow of the mostly mid tone brown, with some darker streaks as well. These are highly figured plates, easy to work with and stable throughout the resawing process.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 21 1/2" | 0.16" | q |
| Sides | 5" | 31 3/8" | 0.13" | q |
So here's the Milky Way run of claro walnut, a couple of sister logs I stepped in back in 2013. The trees were cut from private land, usually called yard trees, in the Willamette Valley, south of Corvallis. Named for the milk chocolate almost backlit glow of the mostly mid tone brown, with some darker streaks as well. These are highly figured plates, easy to work with and stable throughout the resawing process.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 22" | 0.16" | q |
| Sides | 5" | 33" | 0.125" | q |
So here's the Milky Way run of claro walnut, a couple of sister logs I stepped in back in 2013. The trees were cut from private land, usually called yard trees, in the Willamette Valley, south of Corvallis. Named for the milk chocolate almost backlit glow of the mostly mid tone brown, with some darker streaks as well. These are highly figured plates, easy to work with and stable throughout the resawing process.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 5/8" | 22" | 0.165" | q |
| Sides | 5" | 32 1/4" | 0.165" | q |
So here's the Milky Way run of claro walnut, a couple of sister logs I stepped in back in 2013. The trees were cut from private land, usually called yard trees, in the Willamette Valley, south of Corvallis. Named for the milk chocolate almost backlit glow of the mostly mid tone brown, with some darker streaks as well. These are highly figured plates, easy to work with and stable throughout the resawing process.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 22" | 0.17" | q |
| Sides | 5" | 32" | 0.13" | q |
So here's the Milky Way run of claro walnut, a couple of sister logs I stepped in back in 2013. The trees were cut from private land, usually called yard trees, in the Willamette Valley, south of Corvallis. Named for the milk chocolate almost backlit glow of the mostly mid tone brown, with some darker streaks as well. These are highly figured plates, easy to work with and stable throughout the resawing process.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 5/8" | 22" | 0.165" | q |
| Sides | 5" | 32" | 0.135" | q |
So here's the Milky Way run of claro walnut, a couple of sister logs I stepped in back in 2013. The trees were cut from private land, usually called yard trees, in the Willamette Valley, south of Corvallis. Named for the milk chocolate almost backlit glow of the mostly mid tone brown, with some darker streaks as well. These are highly figured plates, easy to work with and stable throughout the resawing process.....small fill spots are marked with chalk.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 10" | 22" | 0.165" | q |
| Sides | 5 1/2" | 33" | 0.115" | q |
Always looking for intact crotch shadow to block out for acoustic plates. Crotches themselves tend to be unstable as thin plates and have open checking once dry, which is fine for electric tops but very risky for acoustic plates. However, the areas in the shadow of the actual crotch, where the grain and figure are transitioning from anything goes to more regular fiber growth, can be a great opportunity for some excellent sets, and that is what we have here. Intense figure, compression, and wildly colorful, but flat and stable plates. The camera is exaggerating the greyish areas. These are some of the most poppin sets to ever come out of my shop!!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 10" | 22" | 0.17" | q |
| Sides | 51/2" | 33" | 0.14" | q |
Always looking for intact crotch shadow to block out for acoustic plates. Crotches themselves tend to be unstable as thin plates and have open checking once dry, which is fine for electric tops but very risky for acoustic plates. However, the areas in the shadow of the actual crotch, where the grain and figure are transitioning from anything goes to more regular fiber growth, can be a great opportunity for some excellent sets, and that is what we have here. Intense figure, compression, and wildly colorful, but flat and stable plates. The camera is exaggerating the greyish areas. These are some of the most poppin sets to ever come out of my shop!!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 9 1/2" | 22" | 0.17" | q |
| Sides | 5 1/2" | 33" | 0.14" | q |
Always looking for intact crotch shadow to block out for acoustic plates. Crotches themselves tend to be unstable as thin plates and have open checking once dry, which is fine for electric tops but very risky for acoustic plates. However, the areas in the shadow of the actual crotch, where the grain and figure are transitioning from anything goes to more regular fiber growth, can be a great opportunity for some excellent sets, and that is what we have here. Intense figure, compression, and wildly colorful, but flat and stable plates. The camera is exaggerating the greyish areas. These are some of the most poppin sets to ever come out of my shop!!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 9" | 22" | 0.17" | r |
| Sides | 5 1/2" | 32" | 0.17" | r |
Just have a couple of these very unique sets with this fiery claro coloration. There are a couple tiny pinholes at the bookmatch on this set, they may saw out depending on your application. Priced accordingly.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 9 1/2" | 22" | 0.15" | q |
| Sides | 4 3/4" | 32" | 0.15" | 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 browns here with good figure, and easily workable plates.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 9" | 22" | 0.16" | q |
| Sides | 5" | 33" | 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 | 9" | 22" | 0.165" | q |
| Sides | 5" | 32" | 0.15" | 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 1/2" | 22" | 0.16" | q |
| Sides | 5" | 33" | 0.15" | 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 1/2" | 22" | 0.16" | q |
| Sides | 5" | 33" | 0.125" | 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 | 9" | 22" | 0.155" | q |
| Sides | 5" | 33" | 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 | 9 1/4" | 22" | 0.16" | q |
| Sides | 5" | 32" | 0.16" | 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 | 9" | 22" | 0.15" | q |
| Sides | 4 3/4" | 32" | 0.175" | 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 7/8" | 22" | 0.175" | q-r |
| Sides | 5" | 32" | 0.15" | q |
Oregon Myrtle, from the SW Oregon coastal region. In addition to the figured stuff, I like to acquire tight clean straight round myrtle logs, which tend to yield me sets like these - straight and colorful, maybe some ribbons of micro curl here and there, and hopefully some wispy black line stuff which has nothing to so with spalt when it comes to myrtle. Every set is unique, but the way I saw the logs keeps things pretty nice and consistant for the species. All these plates are good, even density material, air dried here in the High Desert of Central Oregon.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 22" | 0.165" | q-r |
| Sides | 5 3/8" | 32" | 0.14" | r |
Oregon Myrtle, from the SW Oregon coastal region. In addition to the figured stuff, I like to acquire tight clean straight round myrtle logs, which tend to yield me sets like these - straight and colorful, maybe some ribbons of micro curl here and there, and hopefully some wispy black line stuff which has nothing to so with spalt when it comes to myrtle. Every set is unique, but the way I saw the logs keeps things pretty nice and consistant for the species. All these plates are good, even density material, air dried here in the High Desert of Central Oregon.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 21" | 0.17" | q |
| Sides | 5" | 32" | 0.14" | q/r |
Oregon Myrtle, from the SW Oregon coastal region. In addition to the figured stuff, I like to acquire tight clean straight round myrtle logs, which tend to yield me sets like these - straight and colorful, maybe some ribbons of micro curl here and there, and hopefully some wispy black line stuff which has nothing to so with spalt when it comes to myrtle. Every set is unique, but the way I saw the logs keeps things pretty nice and consistant for the species. All these plates are good, even density material, air dried here in the High Desert of Central Oregon.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 22" | 0.165" | q/r |
| Sides | 5" | 33 3/4" | 0.14" | q |
Oregon Myrtle, from the SW Oregon coastal region. In addition to the figured stuff, I like to acquire tight clean straight round myrtle logs, which tend to yield me sets like these - straight and colorful, maybe some ribbons of micro curl here and there, and hopefully some wispy black line stuff which has nothing to so with spalt when it comes to myrtle. Every set is unique, but the way I saw the logs keeps things pretty nice and consistant for the species. All these plates are good, even density material, air dried here in the High Desert of Central Oregon.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 22" | 0.16" | q |
| Sides | 5" | 32" | 0.14" | q |
Oregon Myrtle, from the SW Oregon coastal region. In addition to the figured stuff, I like to acquire tight clean straight round myrtle logs, which tend to yield me sets like these - straight and colorful, maybe some ribbons of micro curl here and there, and hopefully some wispy black line stuff which has nothing to so with spalt when it comes to myrtle. Every set is unique, but the way I saw the logs keeps things pretty nice and consistant for the species. All these plates are good, even density material, air dried here in the High Desert of Central Oregon.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 21" | 0.16" | q |
| Sides | 5" | 34" | 0.14" | q/r |
Oregon Myrtle, from the SW Oregon coastal region. In addition to the figured stuff, I like to acquire tight clean straight round myrtle logs, which tend to yield me sets like these - straight and colorful, maybe some ribbons of micro curl here and there, and hopefully some wispy black line stuff which has nothing to so with spalt when it comes to myrtle. Every set is unique, but the way I saw the logs keeps things pretty nice and consistant for the species. All these plates are good, even density material, air dried here in the High Desert of Central Oregon.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 8 1/2" | 22" | 0.135" | r |
| Sides | 5" | 32" | 0.135" | r |
So here's the Milky Way run of claro walnut, a couple of sister logs I stepped in back in 2013. The trees were cut from private land, usually called yard trees, in the Willamette Valley, south of Corvallis. Named for the milk chocolate almost backlit glow of the mostly mid tone brown, with some darker streaks as well. These are highly figured plates, easy to work with and stable throughout the resawing process.....small fill spots are marked with chalk.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 9" | 21 1/2" | 0.15" | q |
| Sides | 5" | 32" | 0.14" | q |
So here's the Milky Way run of claro walnut, a couple of sister logs I stepped in back in 2013. The trees were cut from private land, usually called yard trees, in the Willamette Valley, south of Corvallis. Named for the milk chocolate almost backlit glow of the mostly mid tone brown, with some darker streaks as well. These are highly figured plates, easy to work with and stable throughout the resawing process.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 5" | 15" | 0.15" | f |
| Sides | 4" | 20" | 0.145" | f |
Eastern birdseye maple is flatsawn for the strongest eye reveal. These are very active, not only with eyes but also plenty of figure, although it doesn't always show up so great in the pics. A lot of luthiers will use some color to bring out the shading around the figure, making it appear even stronger. These are the end of a run of kiln dried material that produced many lovely guitar sets as well.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 5" | 15" | 0.135" | f |
| Sides | 4" | 20" | 0.135" | f |
Eastern birdseye maple is flatsawn for the strongest eye reveal. These are very active, not only with eyes but also plenty of figure, although it doesn't always show up so great in the pics. A lot of luthiers will use some color to bring out the shading around the figure, making it appear even stronger. These are the end of a run of kiln dried material that produced many lovely guitar sets as well.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 8 1/2" | 20" | 0.25" | q |
I got a couple sister logs of figured claro back in 2013 out of Junction City, Oregon, in the Willamette Valley. These trees grew right next to each other and are clearly of the same genetics. I cut the lumber at 6/4 and it has been air drying ever since, so 11 years at the time of this listing. The grain is very rich and leathery and there is plenty of figure all over these plates.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 8" | 20" | 0.25" | q-r |
I got a couple sister logs of figured claro back in 2013 out of Junction City, Oregon, in the Willamette Valley. These trees grew right next to each other and are clearly of the same genetics. I cut the lumber at 6/4 and it has been air drying ever since, so 11 years at the time of this listing. The grain is very rich and leathery and there is plenty of figure all over these plates.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 8" | 20" | 0.25" | q-r |
I got a couple sister logs of figured claro back in 2013 out of Junction City, Oregon, in the Willamette Valley. These trees grew right next to each other and are clearly of the same genetics. I cut the lumber at 6/4 and it has been air drying ever since, so 11 years at the time of this listing. The grain is very rich and leathery and there is plenty of figure all over these plates.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 8 1/2" | 20" | 0.25" | q-r |
I got a couple sister logs of figured claro back in 2013 out of Junction City, Oregon, in the Willamette Valley. These trees grew right next to each other and are clearly of the same genetics. I cut the lumber at 6/4 and it has been air drying ever since, so 11 years at the time of this listing. The grain is very rich and leathery and there is plenty of figure all over these plates.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 8" | 20" | 0.25" | q |
I got a couple sister logs of figured claro back in 2013 out of Junction City, Oregon, in the Willamette Valley. These trees grew right next to each other and are clearly of the same genetics. I cut the lumber at 6/4 and it has been air drying ever since, so 11 years at the time of this listing. The grain is very rich and leathery and there is plenty of figure all over these plates.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7" | 20" | 0.25" | r |
I got a couple sister logs of figured claro back in 2013 out of Junction City, Oregon, in the Willamette Valley. These trees grew right next to each other and are clearly of the same genetics. I cut the lumber at 6/4 and it has been air drying ever since, so 11 years at the time of this listing. The grain is very rich and leathery and there is plenty of figure all over these plates.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7" | 20" | 0.25" | q |
I got a couple sister logs of figured claro back in 2013 out of Junction City, Oregon, in the Willamette Valley. These trees grew right next to each other and are clearly of the same genetics. I cut the lumber at 6/4 and it has been air drying ever since, so 11 years at the time of this listing. The grain is very rich and leathery and there is plenty of figure all over these plates.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 8 1/2" | 22" | 0.17" |
Most Engelmann grows in the higher elevations of the treeline in the Cascade Mountains here in the PNW and up into BC. It also happens to be the single most difficult wood to photograph of any species on this website. The camera just doesn't like it, or vice versa. If you see anything you might like, email me or DM on Instagram with the set# and I'll send you some close ups, which tend to come out a lot better.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 7 1/4" | 21" | 0.17" |
Most Engelmann grows in the higher elevations of the treeline in the Cascade Mountains here in the PNW and up into BC. It also happens to be the single most difficult wood to photograph of any species on this website. The camera just doesn't like it, or vice versa. If you see anything you might like, email me or DM on Instagram with the set# and I'll send you some close ups, which tend to come out a lot better.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 7 3/8 - 7 5/8" | 22" | 0.17" |
Most Engelmann grows in the higher elevations of the treeline in the Cascade Mountains here in the PNW and up into BC. It also happens to be the single most difficult wood to photograph of any species on this website. The camera just doesn't like it, or vice versa. If you see anything you might like, email me or DM on Instagram with the set# and I'll send you some close ups, which tend to come out a lot better.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 8 1/2" | 21" | 0.17" |
Most Engelmann grows in the higher elevations of the treeline in the Cascade Mountains here in the PNW and up into BC. It also happens to be the single most difficult wood to photograph of any species on this website. The camera just doesn't like it, or vice versa. If you see anything you might like, email me or DM on Instagram with the set# and I'll send you some close ups, which tend to come out a lot better.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 8 1/2" | 21" | 0.17" |
Most Engelmann grows in the higher elevations of the treeline in the Cascade Mountains here in the PNW and up into BC. It also happens to be the single most difficult wood to photograph of any species on this website. The camera just doesn't like it, or vice versa. If you see anything you might like, email me or DM on Instagram with the set# and I'll send you some close ups, which tend to come out a lot better.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 7 3/4 - 8" | 22" | 0.17" |
Most Engelmann grows in the higher elevations of the treeline in the Cascade Mountains here in the PNW and up into BC. It also happens to be the single most difficult wood to photograph of any species on this website. The camera just doesn't like it, or vice versa. If you see anything you might like, email me or DM on Instagram with the set# and I'll send you some close ups, which tend to come out a lot better.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 8" | 21" | 0.17" |
Most Engelmann grows in the higher elevations of the treeline in the Cascade Mountains here in the PNW and up into BC. It also happens to be the single most difficult wood to photograph of any species on this website. The camera just doesn't like it, or vice versa. If you see anything you might like, email me or DM on Instagram with the set# and I'll send you some close ups, which tend to come out a lot better.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 9" | 22" | 0.17" |
Most Engelmann grows in the higher elevations of the treeline in the Cascade Mountains here in the PNW and up into BC. It also happens to be the single most difficult wood to photograph of any species on this website. The camera just doesn't like it, or vice versa. If you see anything you might like, email me or DM on Instagram with the set# and I'll send you some close ups, which tend to come out a lot better.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 7 3/4 - 8 1/2" | 22" | 0.17" |
Most Engelmann grows in the higher elevations of the treeline in the Cascade Mountains here in the PNW and up into BC. It also happens to be the single most difficult wood to photograph of any species on this website. The camera just doesn't like it, or vice versa. If you see anything you might like, email me or DM on Instagram with the set# and I'll send you some close ups, which tend to come out a lot better.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 8 3/4" | 22" | 0.17" |
Most Engelmann grows in the higher elevations of the treeline in the Cascade Mountains here in the PNW and up into BC. It also happens to be the single most difficult wood to photograph of any species on this website. The camera just doesn't like it, or vice versa. If you see anything you might like, email me or DM on Instagram with the set# and I'll send you some close ups, which tend to come out a lot better.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 7 7/16" | 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 | 7 3/4" | 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 | 7 1/4" | 21" | 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 | 6-7 1/4" | 21" | 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 3/8" | 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 | 7 1/2" | 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 1/4" | 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" | 21" | 0.16" |
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" | 20 1/2" | 0.16" |
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 3/16" | 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" | 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 | 9" | 22" | 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 | 9" | 22" | 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 | 9" | 22" | 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 | 9" | 22" | 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 | 9" | 22" | 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 | 9 1/2" | 22" | 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 1/4" | 20" | 0.6" |
This is old growth redwood, sequoia sempervirens. This figure is very strong, and the wood is as hard as redwood gets. Its a lot different in that regard than second growth, and the grain is much tighter. I acquired a load of green 8x8 chainsawn blocks of this material a few years ago and milled them mostly for drop tops and archtops, but a few of these carve tops as well. This is easily the best redwood you have ever worked with.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 7 7/8" | 20" | 0.86" |
This is old growth redwood, sequoia sempervirens. This figure is very strong, and the wood is as hard as redwood gets. Its a lot different in that regard than second growth, and the grain is much tighter. I acquired a load of green 8x8 chainsawn blocks of this material a few years ago and milled them mostly for drop tops and archtops, but a few of these carve tops as well. This is easily the best redwood you have ever worked with.
| Component | Width | Length | Thickness |
|---|---|---|---|
| Soundboard | 7 1/4" | 22" | 0.875" |
This is old growth redwood, sequoia sempervirens. This figure is very strong, and the wood is as hard as redwood gets. Its a lot different in that regard than second growth, and the grain is much tighter. I acquired a load of green 8x8 chainsawn blocks of this material a few years ago and milled them mostly for drop tops and archtops, but a few of these carve tops as well. This is easily the best redwood you have ever worked with.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7 1/4" | 20 1/4" | 0.375" |
Western bigleaf maple, acer macrophylla. These came off some stock I was cutting for binding blanks, but not all of it was long enough for that, so I cut some drop tops. Nice rich color and fully figured.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 8 3/8" | 24" | 0.29" | q |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these big enough for most electric bass bodies. The blocks are chainsaw cut from highly figured salvaged stumps, some of which are a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 8" | 24" | 0.23" | q |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these big enough for most electric bass bodies. The blocks are chainsaw cut from highly figured salvaged stumps, some of which are a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 8" | 24" | 0.235" | r |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these big enough for most electric bass bodies. The blocks are chainsaw cut from highly figured salvaged stumps, some of which are a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 8" | 24" | 0.23" | r |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these big enough for most electric bass bodies. The blocks are chainsaw cut from highly figured salvaged stumps, some of which are a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 8" | 24" | 0.235" | q |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these big enough for most electric bass bodies. The blocks are chainsaw cut from highly figured salvaged stumps, some of which are a good 6ft tall. These are old growth and the figure is very strong!....there is a pitch pocket located on the backside only of the LH plate in the waist area and is outside the typical Fender p-bass pattern.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 8 1/4" | 24" | 0.3" | q-r |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these big enough for most electric bass bodies. The blocks are chainsaw cut from highly figured salvaged stumps, some of which are a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 8 1/8" | 24" | 0.29" | r |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these big enough for most electric bass bodies. The blocks are chainsaw cut from highly figured salvaged stumps, some of which are a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 8 1/8" | 23" | 0.29" | r |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these big enough for most electric bass bodies. The blocks are chainsaw cut from highly figured salvaged stumps, some of which are a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 8" | 23 1/4" | 0.25" | r |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these big enough for most electric bass bodies. The blocks are chainsaw cut from highly figured salvaged stumps, some of which are a good 6ft tall. These are old growth and the figure is very strong!.....this set has a check on the edge of the RH plate where the sharpie mark is located, and is outside a typical body pattern when matched as pictured.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 8 1/4" | 24" | 0.3" | q |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these big enough for most electric bass bodies. The blocks are chainsaw cut from highly figured salvaged stumps, some of which are a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 8 1/4" | 24" | 0.3" | q |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these big enough for most electric bass bodies. The blocks are chainsaw cut from highly figured salvaged stumps, some of which are a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7" | 20" | 0.23" | q |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these highly figured sets shown with a strat pattern. The blocks are chainsaw cut from highly figured salvaged stumps, some of which were a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7" | 20" | 0.23" | r |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these highly figured sets shown with a strat pattern. The blocks are chainsaw cut from highly figured salvaged stumps, some of which were a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7" | 20" | 0.29" | q |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these highly figured sets shown with a strat pattern. The blocks are chainsaw cut from highly figured salvaged stumps, some of which were a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7" | 20" | 0.23" | r |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these highly figured sets shown with a strat pattern. The blocks are chainsaw cut from highly figured salvaged stumps, some of which were a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7" | 20" | 0.235" | q |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these highly figured sets shown with a strat pattern. The blocks are chainsaw cut from highly figured salvaged stumps, some of which were a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7" | 20" | 0.235" | q |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these highly figured sets shown with a strat pattern. The blocks are chainsaw cut from highly figured salvaged stumps, some of which were a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 8" | 17 7/8" | 0.225" | q |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these highly figured sets shown with a strat pattern, although this particular set has a bit shorter plates and is shown with a musicman shape. The blocks are chainsaw cut from highly figured salvaged stumps, some of which were a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7" | 20" | 0.24" | q |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these highly figured sets shown with a strat pattern. The blocks are chainsaw cut from highly figured salvaged stumps, some of which were a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7" | 20" | 0.275" | r |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these highly figured sets shown with a strat pattern. The blocks are chainsaw cut from highly figured salvaged stumps, some of which were a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7" | 20" | 0.275" | r |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these highly figured sets shown with a strat pattern. The blocks are chainsaw cut from highly figured salvaged stumps, some of which were a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7" | 20" | 0.275" | q/r |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these highly figured sets shown with a strat pattern. The blocks are chainsaw cut from highly figured salvaged stumps, some of which were a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7 1/2" | 20" | 0.29" | r |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these highly figured sets shown with a strat pattern. The blocks are chainsaw cut from highly figured salvaged stumps, some of which were a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7" | 20" | 0.3" | q |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these highly figured sets shown with a strat pattern. The blocks are chainsaw cut from highly figured salvaged stumps, some of which were a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7" | 20" | 0.3" | q |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these highly figured sets shown with a strat pattern. The blocks are chainsaw cut from highly figured salvaged stumps, some of which were a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7" | 20" | 0.265" | q |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these highly figured sets shown with a strat pattern. The blocks are chainsaw cut from highly figured salvaged stumps, some of which were a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7" | 20" | 0.22" | q |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these highly figured sets shown with a strat pattern. The blocks are chainsaw cut from highly figured salvaged stumps, some of which were a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7 1/2" | 20" | 0.295" | r |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these highly figured sets shown with a strat pattern. The blocks are chainsaw cut from highly figured salvaged stumps, some of which were a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 8 1/2" | 20" | 0.295" | r |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these highly figured sets shown with a strat pattern. The blocks are chainsaw cut from highly figured salvaged stumps, some of which were a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7" | 20" | 0.275" | q |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these highly figured sets shown with a strat pattern. The blocks are chainsaw cut from highly figured salvaged stumps, some of which were a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7" | 20" | 0.27" | q |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these highly figured sets shown with a strat pattern. The blocks are chainsaw cut from highly figured salvaged stumps, some of which were a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7 1/2" | 20" | 0.3" | q |
I've been cutting a pretty good run of 8x8 figured redwood blocks, and getting some really nice tops, including these highly figured sets shown with a strat pattern. The blocks are chainsaw cut from highly figured salvaged stumps, some of which were a good 6ft tall. These are old growth and the figure is very strong!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7" | 20" | 0.25" | q |
Working through some bigleaf blocks that I've had for a long time. Some are going for uke sets and some are going for tops, like these. They range from various fiddleback to some quilted material depending on the block. Good strong figure!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7" | 20" | 0.25" | q |
Working through some bigleaf blocks that I've had for a long time. Some are going for uke sets and some are going for tops, like these. They range from various fiddleback to some quilted material depending on the block. Good strong figure!
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7" | 20" | 0.28" | r |
California redwood, sequoia sempervirens. Come from some blocks been sitting around here for a good while and I decided to cut 'em up. These have decent figure, some of which is kind of organically occurring and some of which is traditional rolling type figure. Redwood is very lightweight and can be used not only for its fiery looks but to help reduce a little weight for the player.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7" | 20" | 0.285" | q |
California redwood, sequoia sempervirens. Come from some blocks been sitting around here for a good while and I decided to cut 'em up. These have decent figure, some of which is kind of organically occurring and some of which is traditional rolling type figure. Redwood is very lightweight and can be used not only for its fiery looks but to help reduce a little weight for the player.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 7" | 20" | 0.28" | q |
California redwood, sequoia sempervirens. Come from some blocks been sitting around here for a good while and I decided to cut 'em up. These have decent figure, some of which is kind of organically occurring and some of which is traditional rolling type figure. Redwood is very lightweight and can be used not only for its fiery looks but to help reduce a little weight for the player.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Top | 6 1/2" | 20" | 0.285" |
I've had this stack of madrone burl sitting in the shop for about 7 years, on a roll cart next to the table saw, as if that meant it would be next to be cut. This guy owed me some money back then, from a walnut log he never produced, so he paid me in this 8/4 burl material he'd been holding onto for years. I have been cleaning out my shop somewhat of late so I decided to square some of the larger pieces up and see what I could get. As with all burl material, there can be some voids here and there that may require some filler, but these are generally pretty minor and can be made to blend into the stellar activity of the burl all over the place. You can stare at this stuff for hours. The wood is very stable and pleasure to work with. It is very rare, and when these are gone, they are gone.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 6" | 15 1/2" | 0.153" | |
| Sides | 3 3/4" | 20" | 0.157" |
Ribbon grained Khaya, sometimes called African Mahogany. These are wider ribbons, as opposed to the kind that are very tight. Ribbons occur when the face of the lumber is cut in cross section to groups of growth rings that alternate in their amount of degrees the fibers grow off vertical. Wider ribbons represent more years spent at one angle before the next group of growth ring fibers shift over to the corresponding angle on the other side of the vertical line. It takes revealing the radial face in order to see these groups of growth rings reflecting light in an equal but opposite manner, which shows up to the eye as ribbons. Make sense?
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 6" | 16" | 0.158" | |
| Sides | 3 1/2" | 20" | 0.155" |
Ribbon grained Khaya, sometimes called African Mahogany. These are wider ribbons, as opposed to the kind that are very tight. Ribbons occur when the face of the lumber is cut in cross section to groups of growth rings that alternate in their amount of degrees the fibers grow off vertical. Wider ribbons represent more years spent at one angle before the next group of growth ring fibers shift over to the corresponding angle on the other side of the vertical line. It takes revealing the radial face in order to see these groups of growth rings reflecting light in an equal but opposite manner, which shows up to the eye as ribbons. Make sense?
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 6" | 16" | 0.155" | |
| Sides | 3 1/4" | 20" | 0.166" |
Ribbon grained Khaya, sometimes called African Mahogany. These are wider ribbons, as opposed to the kind that are very tight. Ribbons occur when the face of the lumber is cut in cross section to groups of growth rings that alternate in their amount of degrees the fibers grow off vertical. Wider ribbons represent more years spent at one angle before the next group of growth ring fibers shift over to the corresponding angle on the other side of the vertical line. It takes revealing the radial face in order to see these groups of growth rings reflecting light in an equal but opposite manner, which shows up to the eye as ribbons. Make sense?
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 5 7/8" | 15 7/8" | 0.16" | q-r |
| Sides | 3 15/16" | 19 15/16" | 0.16" | r |
I had a really nice wide tight grained 8/4 wenge board that would have been perfect for guitar sets, but I discovered a split up the slab in the middle of the width, so I had to mill it for uke sets instead. Such is life I suppose. Its great wood, but these are the last of them, make me an offer on all that are left if you are interested.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 5 7/8" | 15 7/8" | 0.15" | q-r |
| Sides | 3 7/8" | 20" | 0.15" | r |
I had a really nice wide tight grained 8/4 wenge board that would have been perfect for guitar sets, but I discovered a split up the slab in the middle of the width, so I had to mill it for uke sets instead. Such is life I suppose. Its great wood, but these are the last of them, make me an offer on all that are left if you are interested.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 6" | 15 7/8" | 0.15" | q |
| Sides | 3 7/8" | 19 7/8" | 0.155" | q-r |
I had a really nice wide tight grained 8/4 wenge board that would have been perfect for guitar sets, but I discovered a split up the slab in the middle of the width, so I had to mill it for uke sets instead. Such is life I suppose. Its great wood, but these are the last of them, make me an offer on all that are left if you are interested.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 5 7/8" | 15 7/8" | 0.16" | q-r |
| Sides | 3 1/2" | 19 15/16" | 0.16" | r |
I had a really nice wide tight grained 8/4 wenge board that would have been perfect for guitar sets, but I discovered a split up the slab in the middle of the width, so I had to mill it for uke sets instead. Such is life I suppose. Its great wood, but these are the last of them, make me an offer on all that are left if you are interested.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 5 1/2" | 12 7/8" | 0.135" | f |
| Sides | 1 3/4" | 19 7/8" | 0.14" | f |
This is old school eastern birdseye with some rolling quilty figure as well. The wood is very dense and the eyes are fairly strong, as the wood is flatsawn, revealing the strongest view of both the eyes and whatever quilt there may be. I just have these mando sets left, the guitar sets I got are long gone. Will make a fabulous mandolin with classic maple reference grade tone.
| Component | Width | Length | Thickness | Cut |
|---|---|---|---|---|
| Backs | 5 15/16" | 13 7/8" | 0.16" | f |
| Sides | 1 3/4" | 22" | 0.16" | f |
This is old school eastern birdseye with some rolling quilty figure as well. The wood is very dense and the eyes are fairly strong, as the wood is flatsawn, revealing the strongest view of both the eyes and whatever quilt there may be. I just have these mando sets left, the guitar sets I got are long gone. Will make a fabulous mandolin with classic maple reference grade tone.
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