Hi,
This the first time I write the list, but i'm following and would like
to thank you all for sharing interesting points of view.
Harlans question is within my field, so I can say something about that..
It's is an exaggeration to say that maple was standard for necks,
although f. ex. Stradivari used this. Cypress, walnut, fruitwoods or
spruce are all common in surviving instruments. Most woods are actually
suitable as long as properly dried - although they do give different
character. In modern guitar construction cedar from central-America or
Brazil has been dominant in the Spanish school. A deterioration in cedar
quality has made many builders change to mahogany, which is heavier.
Mahogany has been taken back to Europe from Americas as early as the
16th century, often as ballast, so it's been available to (and part of)
guitarmaking for a long time.
Fingerboards on baroque guitars does not have the same stiffening
function as it does on a modern one, and is both thinner and shorter.
They are often combinations of woods and ivory making visually striking
patterns or some close-pored hardwood that doesn't get dirty and worn so
quickly - typically ebony or different kinds of rosewoods.
Greetings from Norway,
Simen Omang
On 01/21/2012 04:12 AM, Harlan wrote:
Hello all
I have recently been thinking about the neck and fingerboard of baroque guitar in
historical times as well as modern reproductions. I know maple was the
"standard" (if we can use such a word) for the neck, but was there any well
known alternative woods at the time? When did mahogany take over as an equal alternative
for guitar neck construction? It seems today modern necks are mahogany or maple.
Regarding fingerboards, was there a standard or common material for baroque
guitars or was it really all over the map?
Harlan
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www.s-omang.com
