#61
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Tony Rice uses Tortoise shell picks
Last edited by cspencer; 05-29-2014 at 04:51 AM. |
#62
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2.) You've obviously never used a real tortoise shell pick. 3.) Real tortoise is easily identified. 4.) Please retread the article you posted. "There is a small chance that those who claim the latter—to have Fender guitar picks made of real tortoiseshell—might actually be correct. It’s pretty unlikely, though, because they’re rare, and there are definite qualifications, as we’ll soon see."
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侘 寂 -- wabi-sabi -- acceptance of transience and imperfection by finding beauty in that which is imperfect, impermanent, and incomplete Last edited by ecguitar44; 05-28-2014 at 09:27 PM. |
#63
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I gave up tortoiseshell a long time ago. I now use only unicorn horn. It's much better.
In all seriousness, I have a SCGC Braz guitar, without papers. I can't sell it now? Do you think SCGC has papers they can send?
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Guild CO-2 Guild JF30-12 Guild D55 Goodall Grand Concert Cutaway Walnut/Italian Spruce Santa Cruz Brazilian VJ Taylor 8 String Baritone Blueberry - Grand Concert Magnum Opus J450 Eastman AJ815 Parker PA-24 Babicz Jumbo Identity Walden G730 Silvercreek T170 Charvell 150 SC Takimine G406s |
#64
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I hate to bum the party, but shell picks are certainly not rare as you seem to imagine? In the early 80s I owned a dozen and a half. I bought my first shell pick for 50 cents, in 1955. It was retired in 2005 when the point finally wore down further than I liked using. The friend I gave it to reshaped it, and is still using the almost 60 year old pick.... There is simply nothing like a shell pick for flatpicking, regardless of how "enviornmentally incorrect" they may be? People make them out of old combs, mirror, and picture frames, found in second hand stores, and yard sales. No Hawksbill turtles are injured. They've been dead for over a hundred years.... Genuine shell picks are frequently sold at bluegrass festivals for $50, and sometimes even more? There are still plenty of bluegrass guitar, and mandolin players, who use real shell picks. The performers just keep the mouths shut about doing so. I would guess that most of the classic flatpicking songs so admired my many of us were done with genuine shell picks? Brazilian rosewood, and shell picks, are simply the best materials to use for making guitars, and flatpicking music.... YMMV.... Don |
#65
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侘 寂 -- wabi-sabi -- acceptance of transience and imperfection by finding beauty in that which is imperfect, impermanent, and incomplete |
#66
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Since you have a guitar by a currently-operating company, I'm certain you can get a statement from them specific to the serial # of your guitar (ie build date). Shouldn't be much of a problem.
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Some might call me a "Webber Guitars enthusiast". |
#67
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Is it enough just to have a build date? Shouldn't the documentation verify the wood was acquired pre-CITES? Thanks for the response, by the way.
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Guild CO-2 Guild JF30-12 Guild D55 Goodall Grand Concert Cutaway Walnut/Italian Spruce Santa Cruz Brazilian VJ Taylor 8 String Baritone Blueberry - Grand Concert Magnum Opus J450 Eastman AJ815 Parker PA-24 Babicz Jumbo Identity Walden G730 Silvercreek T170 Charvell 150 SC Takimine G406s |
#68
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Misleading? Misconceptions? Or simply can't read?
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#69
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So is now the time to be buying a guitar made with Brazilian, or to be selling?
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#70
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I'm trying to make sense of this news and have some calls into the FWS. But if Chuck (the OP) is correct, then 99% of the Brazilian RW guitars made in the past 15 years will be worthless (unless you want to risk selling on the black market).
Somebody made the comment that this is a good thing because builders should have the paperwork. Let me clarify, the certification process is a nightmare and a ridiculous artifact of incompetent bureaucracy. The CITES master file costs about $300 and then you have to renew every few years. Are they seriously asking builders to do that for every bridge blank and head plate???? I have some Brazilian that is completely legal (I know the source and it was cut here in America in the 60's) but since I didn't want to mess with the paperwork needed for export, I knew I could always use it for customers within our borders. However, this new ban changes that. This new reg does not honor legacy practice even for those who purchased ethically and legally. For example, I never "imported" Brazilian RW into the country but always bought material from folks who found very old existing stockpiles. Part of me is happy because this will effectively solve the problem with Brazilian RW. However, I am incredibly frustrated that the government is essentially robbing artisans of ethically and legally acquired Brazilian and making those investments worthless. If they wanted to stop illegal Brazilian RW -- how about not allowing any Brazilian RW into or out of the country (even with legal CITES paperwork). Sure, some of it would get smuggled in but it would a huge part of the problem would be eliminated. Or how about giving a 2 to 3 year time limit for using existing material and turning it into a commercial product. After the deadline, no more new instruments could be sold with Brazilian RW but old instruments with Brazilian RW could still be bought and sold -- that would protect the artisans and also the American customers who've bought expensive Brazilian RW guitars recently. Everybody is getting screwed over with this new regulation. |
#71
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I'll buy. But it has to be cheap or you'll have to give it to me when the law kicks in
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#72
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What the great majority of luthiers have in their woodshed is old growth Brazilian rosewood, .i.e. wood that has been in the US for a long time, or reclaimed wood from building resawed into sets and blanks. In any case, trees that have been cut a long time ago for the most part (there is also quite a lot of stumpwood, the bases of trees cut long ago that have been reclaimed).
New growth can easily be recognized as it usually looks lackluster, mostly pale brown, little figure and hard to come by in quartersawn sets as the trees are usually small. However, the regulations, as for elephant ivory and tortoise shell for example, seem to go toward a zero tolerance philosophy. The thinking is that any use of Brazilian rosewood encourages more poaching. That completely ignores the importance of historical artefacts, for example, or the presence of old stocks owned by artisans and shops. The US and French governments very publicly destroyed elephant ivory seized by customs a few months ago, as an illustration of this zero tolerance policy. Needless to point out, there is a fair amount of political demagogy and wishful thinking in all this. In any case whereas one agrees with that philosophy makes no difference, it is what it is. The important question is, how is this going to be enforced, and with what level of priority? My guess is it's too early to tell, but if anyone is informed, it would be nice to have some inside information.
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Laurent Brondel "Faiseur d'instruments" |
#73
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Dave 2013 Rockbridge slope |
#74
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Originally Posted by brucefulton Sea turtles are best utilized when swimming live in the sea. Why mankind would look at a turtle and think "hmm that that creature would make a great guitar pick" is lost on some people. To some people a turtle best utilized when swimming in the sea is a waste of a perfectly good turtle. Unless you need to win I say your facts may be inaccurate to some but your point has been made.
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A couple of Halcyons and a Canadian made Larrivee "Wish I had more time to hear your reasons, but I have to go get a beer." 00-28 |
#75
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Dutch, Still playing after all these years. |