Brazilian Rosewood 31"x 4"x3/16" Fingerboard & Peghead overlay PreGenocide Stock

Description

30-3/4" x 3-7/8" 18"x .150" (.115"
sanded both sides) SUPERIOR TONAL QUALITY
Exceptional straight grain center heartwood specially cured and aged an additional 50 years as a fingerboard laminate over another tone wood of choice. The best of all sides material but had no mate, and not thick enough for a radius fingerboard. But for a classical guitar it can work to add feel strength and tone to your mahogany neck glued to another tone wood. Just add binding, and there is enough there for that.
This has an exceptional red devils food chocolate to deep brown and even black-chocolate stripes that are consistent and straight. A light amount of shellac finish was applied to the end to show reaction to finish. This piece was sealed with shellac 50 years ago on one side and did not bend. Nevertheless when the saw blade marks are sanded away with the shellac comes off and just like the other side the natural oil comes into play and brings the contrasted color out.
This wood is for a very special build. From a luthier who bought this stock before Gretsch Guitars was a spark in someone's mind, when Martin was just starting out.  I have had the lots of this wood 40 years. Before me, Ray Emanuele had more of it since he was a young man. Before that his teacher when he was learning. This wood could have been cut to season 100 years ago. They use a saw with a 70 or 80 inch diameter blade. The thickness of the blade was probably just as he thich as the some of the boards,.
Does old milled old growth make a difference?
Yes it does matter in the realm of true greatness in the making and playing of a stringed musical instrument.
Floyd Red Crow Westerman once said that the human is genetically related to the tree and this is proven true. Since before the ancestors of the human being trees took in carbon dioxide and exhaled oxygen. A symbiotic relationship.  The Rainforests of Brazil and the human beings who lived there go back before human and archeological record. The ancestors of these trees and these boards from the very trees then where cut perhaps 80 to 100 or or more years ago. This was during a time when indigenous people and their relatives were more of an asset to the loggers and sometimes benefitted by this logging. But today and for over 50 years the production of Brazilian rosewood is directly tied to the destruction of rainforests, and frankly the displacement and death and disease, the suffering of native indigenous people of the region.
The color, and stripes in wood is related to the density, and nutritional intake, as well as weather patterns, shifting soil and bowing, additional growth, biogenetics, and the forest around it . The patterns in wood are relative to the universal law of acoustics. The law does not adhere to one temperament but rather infinite temperament, so that 440 is only a human limitation of harmonics but required for collaborative harmony. However there is more to the overtone series than we think we know, and it delves into the spiritual and multidimensional realm. These are the unknowns that made the real and few Stradivarius legendary.  YES wood sourcing and its treatment was indeed a factor. This has an acoustical relationship written in in the visible character of the wood.. Managed wood that has more prefect grain is not natural to the overtone series and theory of harmonics, but it is quite beautiful.
This wood however is spiritually clean and aged old growth and has a physical reality of being superior to the most expensive sets available today. The oils have polymerized
I wish I had more.