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From: sano@leland.Stanford.EDU (Stephen Sano)
Subject: Re: Spruce Selection?

Just my $.02 in response to Pasi's post about spruces:

Yup, all the different spruces have very different qualities to them.
Though there sure is alot of difference from top to top even within
one variety.

My understanding (after much discussion with Richard Hoover of Santa Cruz
Guitar Company, and many of the folks at Gryphon's Stringed Instruments)
regarding the different varieties of spruce is:

German or Bavarian Spruce (picea abies - much of it now coming from
the former Czechoslovakia, or other areas futher east than Bavaria), has 
one of the highest stiffness-to-weight ratios of all the spruces.  This
stiffness contributes to the generally outstanding high-end response
of tops constructed from this wood.  The stiffness is also why it seems
to take a little more energy to put it into motion - all the new instruments
I've played with German Spruce tops seem to be more sensitive to differences 
(or difficiencies?!) in right-hand technique.  It's also a very pretty 
wood - can be almost white in color.

Adirondack Spruce (picea glauca) is supposedly quite similar to German
Spruce as far as its stiffness-to-weight ratio, and thus is said to have
similar acoustical properties.  The only guitars I've played with
Adirondack tops have been older ones that were broken in long ago and in which
the sound came quite easily.

Sitka Spruce (picea sitchensis) is softer than either German or Adirondack.
The sound does indeed seem to generally be more "singing", less brilliant,
and without the bell-like clarity of German or Adirondack.  However, with
exceptionally stiff bracing stock on the treble side of the soundboard, I
suppose it'd be possible to construct a top with roundness of tone in the
tenor and bass and more brilliance in the treble.  Sitka is also what
Larry Sandberg describes as more "ruddy in complexion."  I've seen
Sitka anywhere from almost as white as German, to yellowish, to almost
as "ruddy" as cedar.

Englemann Spruce (picea engelmanni) is most curious - and problematic - of all
the commonly used spruces.  It seems to be quite hip at the current time as
a top wood - due in part to the fact that it can look very much like German
Spruce - very white and tight grained . . . though sveral luthiers I have 
spoken to are not exactly enthusiastic about it.  Engelmann actually has the 
lowest stiffness-to-weight ratio of all the spruces under discussion.  It is 
closer to cedar as far as response characteristics.  As cedar can be a 
wonderful wood for tops, this is not necessarily bad.  However, it's 
interesting to note (so I'm told) that Englemanns grow in a much wider range 
of of geographical habitats (and therefore, a wider range of environments, 
climates, etc.) than the other spruces (is this true, any plant biologists 
out there?).  As a result, there are a much greater range of qualities
and characteristics in the woods which show up in grades suitable for 
instrument construction.  Many otherwise beautiful guitars which I have 
played have the most flabby, lifeless Englemann tops - which, BTW, looked
beautiful.  Certainly, there are outstanding Englemann tops out there,
but when considering an Englemann soundbard instrument, I'd definitely
want to play it ahead of time.  Also interesting, that Richard Hoover
at Santa Cruz will generally try to talk you out of using it as a top wood.

As for what is right for what instrument - gee that's really personal
preference, the kind of music the person plays, will it be used for
recording, miked or not, cutting power or roundness of tone, etc., etc., etc.
Whatever your friend decides to go with - I'm sure that Bill Collings
can build an istrument that will suit his/her needs!

Ugh . . . so that's my overly long input regarding spruces - sorry to
ramble on so!

--Steve

_____________________________________________________________________________
Stephen M. Sano				|
Department of Music			| "Very funny Scotty,
Stanford University			|  now beam up my clothes."
sano@leland.stanford.edu		|
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