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The Choice of Wood

To build an Instrument from great sonic martial is only a great start.

Different species offer different dynamics and tonal characters but that alone does not determine the sonic quality of any Snare.

Only the concept, design, and craftsmanship of the builder can combine the inherent properties if the wood and balance them to the design for an optimum result. 

There are many species that are suitable for Instrument construction.

The Species that I use are my preferred choices for different dynamic reasons and particularly chosen to accommodate the Lunar design.

Genuine instrument grade  is the highest purpose that any wood can aspire too.

As a rule of thumb, the quality of the individual piece of lumber is more important than the notoriety or reputation of a particular species.

True instrument grade is usually reserved for  high-end acoustic string instruments. It is very limited in supply and extremely valuable. 

If a tree yields any instrument grade lumber at all, it will only be a very small percentage of its bulk, the fillet minion if you will.

The primary criterion for instrument grade is…

Stability, ...........................................no twisting, no warping

Cut,( the part of the tree it comes from.) The lower trunks of big old growth trees are preferred.

Grain direction and degree of run- out .....none or the least as possible is preferred

Tap tone, .......................................... the response you get when you tap on it.

Stiffness to weight ratio….......................especially important for acoustics.

Color, luminance,...................................variegation and degree of figure.

It does not make any sense to spend 45 to 60 hrs constructing an instrument using inferior material.

If for no other reason that I am going to have to look at this whilst working on it for that length of time.

I have a lot of love and respect for the wood that I use and it makes me want to give it my very best.

All Lunar snares are book matched. This means that the inside  and outsides are the mirror images of one another, because they are sawn from the same piece.

Besides constructing and finishing the instrument, I handle all sourcing, grading and preproduction of lumber for all our instruments personally.

On occasion, I have built from tree to instrument.

Because the proper drying and seasoning of the timber is essential, this  takes years.

     No,....not worth it......but a hell of righteous feeling.

Koa (Acacia Koa) 

This wood is only native to the Hawaiian Islands. It the last ten years it has established itself as a major player amongst Instrument wood choices.

Interestingly though this wood is very inconsistent.

Depending on which region in Hawaii it is harvested from, it varies tremendously in stiffness to weight ratio, color, density, and general appearance.

It can be basic muddy yellow brown or the most beautiful luminescent wooden substance you could imagine.

It can vary from black brown to silky pink or deep red.

The most sought after are the highly figured and the colorful variegated grades.

Unfortunately, the defect ratio of this wood is also very high.

The price of this timber, because of the high demand and limited availability is almost rising by the month.

For this reason purchasing, a professional instrument made out of Koa is an investment that will appreciate over the years.

Because of the diversity within the species, I choose Koa very carefully (my shell is already fat - at lay-up before shaping almost 3/8 of an inch).The frequency of Koa tends to hover between the lower and upper end of the midrange, somewhat like Honduras Mahogany, although with more punch tonal color and articulation.

However, because its great diversity, Koa also permits me to construct diverse sounding snares to accommodate the individual preferences of a particular player.

More about Koa...

http://www.hobbithouseinc.com/personal/woodpics/koa.htm

Hawaiian Mango

Unlike Koa, this wood is extremely consistent as far as its inherent tonal frequency is concerned. It is a little more porous and softer than koa.

Mango has a wonderful, low earthy tap tone that provides the most headroom, because it allows me to shape and tunes the primary frequency response to the lowest, end possible.

It has a fat honest punch. Snares made from Mango tend to be dryer than those made from Koa are.

Interestingly though, when we really cranked up the batter head they can also respond in a  very open and bright way without  loosing the meat of the inherent bass response.

It is a huge envelope with no lack of articulation with plenty of natural reverb.

Judging by these characteristics you would have a hard time believing, that this is a 4-inch deep net deep shell. (5.5 in the fitting)

Unfortunately though most mango wood looks like the Mud.

This Timber tends to be a bland muddy blonde riddled with grays and another color that could only be described as green snot.

To call this coloration interesting would be kind.

When it is sawn for book- matching the color on the adjoining piece may be completely different.

Despite Mango’s variable appearance in color and figure, its stiffness to weight ratio and tap tone it are exceedingly consistent.

Finding beautiful Mango is not easy, but it is well worth the effort and can’t be beat with a stick.

As you can see from the appearance of my instruments, I take great pride in their aesthetic as well as their sonic qualities.

Therefore, I am always on the hunt for killer looking mango, which means scoping out any tree or lumber available.

The red and orange hues are uncommon and I like many different colors with a consistent figure.

Of all the research and development effort over the years, Mango has astounded us by providing the most rewarding and pleasant surprises.

Rosewood (Dalbergia …who, what…)

Rosewood is one hell of a broad description. Over the years, I have heard all kinds of substances being referred to as Rosewood.

Legally you can just about call anything Rosewood including your uncle.

I have seen Bubinga being sold as African Rosewood, which is nonsense.

Even though this is an exceedingly fine species, it is not even related.

True Rosewood is always called a Dalbergia… Something or other.

For instance:

Honduras Rosewood.........Dalbergia Stevensonii

Brazilian Rosewood...........Dalbergia Negra

Cocobolo….....................Dalbergia Retusa

East Indian Rosewood.......Dalbergia Latifolia

To further confuse you

African Blackwood  is really ...Dalbergia Melanoxylon and there are many more.

All this sounds a little like a petty political correctness issue. However, I assure you that it is not.

The reason why the botanists have assigned these names to this family of wood is because they are all related.

Even though some grow in different regions of the world, they are brothers, sisters, cousins, aunties and uncles to on another.

They share certain and very specific properties that only exist within in the Dalbergia family of timber species

Despite their diverse appearance, the expert can clearly recognize the grain patters and pore structures that identify them to be genuine Rosewood.

From experience or with the aid of a simple magnifying glass, it is possible to distinguish true Rosewood from those that are sold as Rosewood.

For example Bubinga and Pau Ferro/ Santos "Rosewood" are frequently passed of as rosewood but in reality are not even related.

Neither of those

However, the most important property that we are interested in is the sonic response that is unique to genuine Rosewood, Dalbergias.

That is because nothing sounds like genuine Rosewood.

True Rosewood has been for hundreds of years the ultimate choice for instrument builders/ luthiers. 

Its uncanny ability to represent all the highs, midrange and bass frequencies in balance is well documented.

Because of its inherent stiffness, it facilitates tons of projection.  Furthermore, it is sensitive to the lightest touch.

Because of that, the use of Brazilian Rosewood for instance elevates the worth of a good Guitar by the thousands.

Through my work with string instruments, I have become well aware of its aptitudes.

A snare uses at least 3 times the amount of material compared a Guitar’s Back and Sides.

This is frequently expensive, often protected/restricted, and difficult Material to obtain.

To add to the fun, this wood is tricky and unpredictable to work with.

To fabricate this instrument with genuine Rosewood to the same scantlings requires more time and effort then the mango or koa shells.

The challenge being  that these woods is too stiff to bend at the preferred thickness that is required for the 4 piece lay up.

Eventually, I worked out the challenges of laying up this very stiff and brittle timber in the 4 piece lay up with out changing the physics of the Lunar shell construction.

This required retooling, and the extra time, however the playability of this Snare drum is, in my opinion unsurpassed

This is a sonic powerhouse. The Snare is exceptionally crisp, sensitive, and articulate.

The Balance between highs, lows and midrange is amazing.

In many ways, it shares the same acoustic properties that high-end Rosewood guitars are prized for.

Only one of these snares exists presently, located in Hawaii.

The expense of the material and the added time were reflected in the price.

Unfortunately, I am only able to provide a quote for the Rosewood Lunar shells on a individual bases.

In part, because there are so many Rosewoods and the cost and availability varies amongst them.

Despite the challenges,  I look forward to building many more of them and will continue to take chances, seek, and learn.

These three woods produce distinctively different Snare Drums.

Nonetheless, all of them share the Lunar concept of design, construction, and craftsmanship.

What they also have in common is that they all speak clearly in their own voices.

It would be unjust to deem one snare better or worse than another.

Only the individual player can make those choices based on his or her preferences and needs.

A little note about Maple

Through the years, I now and again build a Maple snare to the Lunar specs.

This serves as an excellent reference for any new proto type because it is the most used material and best understood solid wood for snare drums

I spend the same amount of effort on the shell and as always put my heart and soul into it.

The Maple Lunar shell has never performed anywhere near the standard of Koa, Mango, or Rosewood.

I suspect that fundamental pitch of maple is already to high for the depth, thickness and shape concept of the Lunar design.

This does not allow me to shape ( tune the shell ) to the frequency maximizing the headroom.

 One particular Drummer who tested the maples side by side with the mango and Koa drums really summed it up .....

“If I used this instrument by itself, I would think cool this is a really nice and well behaved Snare and would use it with confidence to do the job.

However playing it side by side with the other instruments, it just cannot compete

Compared to the Koa and Mangos shells, it lacks the  complexity and tonal color.

It is kind of like; yeah I’ve heard that before. It is nice, but ....

Or… VW is great when you have never driven a Lamborghini."

Well I have thought about this conundrum a lot over years and still now and again built a Maple Lunar.

Maybe Maple just does not work well for the Lunar concept and I am perfectly happy to leave it at that.

Just as long as we understand that, it is not prejudice on my part toward this species. 

I love anything that sings.

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Last modified: 08/08/08