#16
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Just another item of trivia...... The osage orange is also a premium wood for making bows. As mentioned above, the original French name means "tree of the bow"....By which they mean the longbow.
It was prized by Amerind tribes long before Europeans got here. It requires special handling as the wood consists of hard, durable "late growth" rings and softer, spongy "early growth" wood. A stave intended for a bow must be reduced so that a single "ring" of that hard wood forms the back of the bow. I built one several years ago; turned out very nicely. |
#17
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This has got to be one of the most interesting and informative, and GAS inducing, threads I've ever read!
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Treenewt |
#18
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This is cool. I knew Osage Orange was a very desirable wood for making bows (as in archery) but didn't know it was a tonewood. Fascinating.
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Ron in Tennessee -------------------------------------------------------- 2015 Taylor 614ce 2014 Taylor 324ce-K FLTD 2013 Taylor 512e 12-Fret Journey OF660 |
#19
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Hedge apple fights! Wade is a genius despite being whalloped on the noggin with a two pound rock-hard fruit as a kid. Just think if he had not received such head trauma: ) We had a load of firewood a few years agon that was mostly Hedge. It burned slow and hot and I'm told the high oil content is what plugged up our chimney. |
#20
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I have an OO custom made by Acorn House Workshop - like most of you said, it is rich and sustains forever...
Here is the build thread: http://www.acousticguitarforum.com/f...hlight=wingert
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RW Skaggs, the tinman : Acorn House Custom by Chris Kenney:Tinman "Heart Guitar" SJ McKnight Mini-Mac V; Madagascar RW, Italian/Carpathian top; exquisite! John Helton Custom OM; Honduran Mahogany Burl "the Growler" Rainsong H-DR1100N2 Journey travel guitar in Nashville high tuning "The music lives in the musician; not the instrument." |
#21
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Great thread! Thanks to all who have contributed. |
#22
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I have a couple of originals posted on the McKnight media page with the Osage/'59 Sitka OM. Sarah's Peace and Your Smiling Face. Not up to my current standard for recording quality, but it will give you an idea.
http://www.mcknightguitars.com/media.html
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"One small heart, and a great big soul that's driving" |
#23
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One more bit of useless trivia about Osage Orange, a biologist I used to work with says the green "fruit" is a natural roach repellent. Just put a couple in your cupboard. Never tried it but he was a wise many who knew quite a bit about many things...
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Martin GPCPA1 Sunburst Taylor 612ce Baby Taylor Ovation 1984 Collector's Takamine FP317S New Yorker Ibanez George Benson Gibson 339 Gibson 2017 J45 Custom Huss & Dalton CM sinker redwood Emerald X20 Woody Tom Anderson Crowdster Plus Maton Nashville 808 Maton Messiah |
#24
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Treenewt |
#25
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For what it's worth, as a closet connoisseur with champagne tastes on a peanut butter and jelly budget and someone who's only recently gotten his feet wet with regards to Lutherie I think it's a losing proposition. I'm also not one who is known to have a good business sense but it sounds to me like you're trying to set yourself up as a middleman between a supplier and a manufacturer demographic, But I wonder: have you considered the investment in time and resources that it would take in order to process and store this material for sale? From what it sounds like to me, you have taken the opinion of someone who has an interest in the marketing of Osage Orange from the perspective of a supplier not a consumer.
I have also played Tim McKnight's Osage Orange guitars - and though I'm not a customer of his I like to think that we have a good relationship - but I think the appeal of Tim's guitars has more to do with his workmanship and design over the quality of one particular material among a variety that goes into any guitar - though I confess he has a pretty good ear and his wife has a pretty good eye for details with her decorative contributions. From the perspective of a guitar player with three decades of experience making noise with and ruining guitars and an educational background in the visual arts to be honest I just don't like the look of the stuff. It's practically fluorescent and visually uninspiring. Not that I totally dislike the stuff; I think it makes a wonderful alternative for a bridge plate material. In your case, I would try to hook up with a Tonewood supplier and see if you can sell the raw resources to them with the hopes of getting something akin to a finders fee. Or you could sell it directly to a luthier who has connections that would allow him to process the raw material and thus be able to work with it. Either way, I don't see you getting a big return on this find. I'm sorry if that sounds a bit pessimistic, but this is a forum frequented by consumers and in my experience when you ask for free advice sometimes you get what you pay for.
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(2006) Larrivee OM-03R, (2009) Martin D-16GT, (1998) Fender Am Std Ash Stratocaster, (2013) McKnight McUke, (1989) Kramer Striker ST600, a couple of DIY builds (2013, 2023) Last edited by Neil K Walk; 12-10-2014 at 11:41 AM. |
#26
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Very kind of you - thanks!
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"One small heart, and a great big soul that's driving" |
#27
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Good advice Mr. Clodhopper. Thank you.
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#28
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I measure the properties of the wood I use, and OO is, as far as I can tell, a drop-in replacement for BRW in terms of stiffness, density and damping ('ring'). I also thing it's more stable in it's reaction to humidity changes; more like Indian rosewood in that respect. I've certainly been happy with the instruments I've made of it. One of them is, or was recently, on consignment by it's owner at Gruhn's.
OO darkens quite a lot with exposure to light and air. A friend of mine mistook an old plank of it for BRW once, and was disappointed. Finish slows that down quite a bit. I would hope that, as the use of tropical hardwoods becomes more hedged with restrictions, we'll see more instruments made from OO, and all the other great domestic woods. |
#29
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My mother was NOT pleased when she found out what my friends and I had done, and neither were any of the other mothers...hedge-apples were banned in every house on the block after that. I think I was six or seven when we tried that. Anyway, Barley, the kids across the fence from our backyard lived in the old farmhouse that the hedge had been planted for. Cary Groner was my age, and he had two older brothers. They were deadly at hedge-apple fights - after two or three recreational hedge-apple skirmishes with the Groner boys my sister and I decided that discretion was the better part of valor, so we chose our opponents more carefully after that. The hedge-apples aren't exactly rock-hard, but they're ARE heavy enough that once you've been hit with one you can still feel where it landed for a long time afterwards. Wade Hampton Miller |
#30
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Without having a sonic reference point (same room, same mics, same pieces, different, familiar guitar, etc.), it's hard to precisely gauge the contribution of the woods and guitar, but boy it sure sounds beautiful. There's a kind of ringing sonority to it I really like a lot. Thank you for sharing this. Wonderful work all around! |