eno wrote: ↑
Tue Nov 14, 2017 2:40 am
Jorge Oliveira wrote: ↑
Sun Nov 12, 2017 4:16 pm
I don't get it...
. Assuming the thickness of the back and sides of the guitar is the same in solid or in double plate wood, if the two plates are of the same matching grain wood, the amount (weight) of wood used would be the same, therefore, the bill of materials used would also be the same, no? Why then a difference in price from solid wood versus double plate? Am I missing something
I don't know much about guitar construction but I've read that it's much harder to do and takes more time, therefore more expensive, to bend and shape a thick plate of wood then to bend and shape two half-thick pieces. I also read some claims that there is no audible difference in tone between laminated and solid back and side guitars that are otherwise the same. I have never done such comparison myself so I don't know if it's true or not.
I also don't know much about guitar construction. I'll forward, then, these questions to my good friend and luthier Christian Schwengeler...
Hi Christian, that's me, Jorge. Please read this...
I apologise for quoting you, it is not proper nor polite
, but that's the expedite way to bring you and your expertise into this discussion. The question is how to distinguish between laminated
rosewood in the back and sides of a guitar, double plate rosewood and solid rosewood (or any other wood, for that matter).
, I believe, is a thin foil (2 or 3 mm) of rosewood glued to some other, thicker, non-precious type of wood. So the rosewood foil would just be there for aesthetic purposes. That would be the case of my Aria A558.
Then we have the double plate rosewood
, in which two thinner plates of rosewood would be glued and bent together to form the sides and back of the guitar. The luthier could even go to the extreme of matching the grain of these two plates, so that, at the naked eye, it could not be distinguished it from a single plate, solid, rosewood. Apparently, the factory of Ryoji Matsuoka did use this technique so as to make the instruments more resistant to the high humidity of Japan.
Finally, we have the well known solid plate rosewood
used in the sides and back of the guitar.
The question is, then, how can we distinguish between these three instances without "invading" the instrument. Moreover, why is a solid rosewood guitar more expensive than a double plate if, in the end, the amount of wood employed is the same (assuming, like many say, that the quality of the sound produced by both is indistinguishable)? Again, Christian, are we missing something?