Woods
Used in Caswell Harps
Over the years I've used a number of different woods for the harps. Each wood has its own character, and developing a relationship with each is one of the joys of craftsmanship. The choice of woods I'm using these days is the result of over three decades of familiarity.
Interestingly, these woods often sound just the way they look.These are premium woods to begin with, and I only use the best grades consistent with their eco-friendliness.
Eastern/English
Walnut - This is a noble wood, increasingly
hard to get in the needed sizes. It has a warm rich
sound with good bass and highs. It has a gorgeous
appearance, sometimes figured, ranging from a
chocolate, to a dark creamy, to almost a purple
brown. I use it for soundboxes, pillars, and
curves for the Bardic Harp Series.
Hard/Rock
Maple - The classic instrument wood. Heavy
and very strong, it is easily available. It has a
fine response across the entire audio spectrum. It
can be worked a bit thinner due to it's strength,
but still tends to produce a heavier harp. It can
also be almost too bright sometimes. It has a very
pale appearance with brilliant highlights and
occasional darker streaks. I use only figured
pieces, usually flamed. I use it on boxes, pillars, and
curves for the Bardic Harp
Series and some of the Hybrids.
Jatoba/Brazillian
Cherry - I don't know why other instrument
makers haven't tumbled to this wood. It's beginning
to be sustainably produced (mainly as a flooring),
so I feel I can use it now. It is similar to
Bubinga, but redder and better sounding. It has a
creamy even texture with occasional figure. Its
sound is somewhat in between maple and rosewood
bright and rich. I use it in both the Bardic and Hybrid Harp
Series for main body parts as well as trim and
centerstrips.
Sitka Spruce -
This is the queen of woods for soundboards. It's very
tough, but with a long grain that transmits sound
very well. Its often used on pianos, and Its cousins
make the finest tops on violins, cellos, etc. I use
an air-dried grade that would be something in
between a piano and violin top. It has an even,
creamy appearance. I truly love this wood and use it
for the principal wood in the Compound
Soundboard used on the Rhiannon.
Western Red Cedar - This is a great tone wood favored by flamenco guitar makers. It has an even russet appearance. I have a source of very tightly-grained, air-dried stock which makes a fine special order option instead of Sitka Spruce in the Compound Soundboard used on the Rhiannon.
Koa - This
Hawaiian Acacia has become famous over the last
generation as a tonewood, especially in guitars and
ukuleles. It's rare now but it's mainland cousin,
Black Locust, is nearly identical. It's not quite
strong enough for a large, stiffly-strung harp, but
I still love to make the Gwydion soundboards out of
it. It has great visual charm - a golden-red brown
with great depth, often with figure. It's tone is
similar to Walnut, but with the vibrancy of
Rosewood.
East Indian/Celonese
Rosewood - One of the greatest tonewoods on
the planet, but now rare. I use only
plantation-grown stock–nothing from the wild
(wild-cut Rosewood often has more figure and is
often favored by guitar makers). It's purple-brown
with very rich highlights. I use it for trim and
especially centerstrips where it's
acoustic properties are put to good use. I can still
do entire harps out of it on special order.
Brown Oak - This classic wood is known for it's great strength and fine appearance. It's not generally regarded as an instrument wood due to the short, interlocking nature of its grain (which is why it's so strong). However, this makes it perfect for bases and trim, since it also contrasts nicely to all the other woods.
Appleply - This is a high-grade plywood featuring maple on the outside and birch or alder interior plys. I use only the highest, void-free grades. It's domestically produced and has a low carbon footprint.
Birch Ply - This amazing, solid Birch aircraft-grade ply comes from Rumania, which has the best reforestation program in Europe. It's very fine and hard (Birch is often used in piano making) and I use it in a limited way where it can best serve.
Over the years I've used a number of different woods for the harps. Each wood has its own character, and developing a relationship with each is one of the joys of craftsmanship. The choice of woods I'm using these days is the result of over three decades of familiarity.
Interestingly, these woods often sound just the way they look.These are premium woods to begin with, and I only use the best grades consistent with their eco-friendliness.
Western Red Cedar - This is a great tone wood favored by flamenco guitar makers. It has an even russet appearance. I have a source of very tightly-grained, air-dried stock which makes a fine special order option instead of Sitka Spruce in the Compound Soundboard used on the Rhiannon.
Brown Oak - This classic wood is known for it's great strength and fine appearance. It's not generally regarded as an instrument wood due to the short, interlocking nature of its grain (which is why it's so strong). However, this makes it perfect for bases and trim, since it also contrasts nicely to all the other woods.
Appleply - This is a high-grade plywood featuring maple on the outside and birch or alder interior plys. I use only the highest, void-free grades. It's domestically produced and has a low carbon footprint.
Birch Ply - This amazing, solid Birch aircraft-grade ply comes from Rumania, which has the best reforestation program in Europe. It's very fine and hard (Birch is often used in piano making) and I use it in a limited way where it can best serve.