I have three or four Brazilian Rosewood instruments - all are remarkable, all are too delicate to play in public (from 1902 to 1920 or so). Brazilian Rosewood - to me - the Grail of fretted instruments. I've been trying to swindle my brother out of two Gianini's he picked up in Brazil in the early sixties but no - will he listen to reason, or even begging?
I also have numerous Maple instruments which are to say the least, loud. But, at this time - I am totally transfixed with Tasmanian Blackwood. This stuff is light in weight, strong, almost psychodelic in it's three dimensional grain texture and most importantly - Resonant. The three instruments i've played which were made from it felt - ah - alive. Neither the Rosewoods or the Maples have that curious sensation. So - another variable is brought into the fray.
Ron - I just reread the quotes from both Smith and Sobell - there is one other variable, Smith was talking about a carved back - Sobell seems to be referring to an induced arch back. Perhaps both are right in their assesments. My Blackbood back and sides Mandola has an induced arch ... I've only heard of one Blackwood which was carved. This makes a big difference in sound output and texture.
Mandola fever is permanent.
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