On March 11, 2011, Japan’s Tohoku coastal region was devastated by a 9.0 magnitude earthquake and tsunami. The months after these disasters brought to the forefront incredible stories of resilience and generosity as Japan quickly began recovery efforts.

Japan’s recovery is expected to take five years or more. With this in mind, Japan Society is working to gauge the long-term needs of those affected by the disaster with the goal of supporting organizations that will contribute to longer term recovery and reconstruction. As long as individuals, corporations and foundations show interest in supporting the longer term recovery and reconstruction process in Japan, Japan Society will keep the Japan Earthquake Relief Fund open for contributions. As we have seen in the past in places like the Gulf Coast, among other places, the need is great not just in the immediate aftermath of a disaster, but also in the longer term recovery and reconstruction process. 
                                                           
One hundred percent of your tax-deductible contributions to the Japan Earthquake Relief Fund go to organizations that directly help victims of the March 11th disaster.

Please contribute to: Japan Earthquake Relief Fund

 
 
 
 
Endorsing Artist:
The Official Site of Joe Pettengill

NEWS


There has been lots of talk about tone in woods. Especially in fingerboard woods. So, Roger Sadowsky has communicated on his website his opinion, based on building over 6000 NYC basses and guitars during the last 30 years. Check out the pics and the Bob Taylor video as well. Alot of great info here:

Fingerboard woods from brightest to warmest:

MAPLE: Tightest and brightest. Best for slap. Can produce more string and fret noise than others. Requires a finish to keep from turning dirty and grey.

EBONY: Not as bright as maple. Most immediate attack and punch of all our fingerboard woods. Note is more fundamental with less overtones. Best for fretless.  Pure black ebony from Madagascar is limited.  African ebony has some grey mottling but is still very beautiful.

These photos are representative of our current stock of ebony:
MORADO (also known as Caviuna, Bolivian Rosewood or Pau Ferro): Morado is not a true rosewood, but I have been a fan of this wood for fingerboards for 30 years. Also used a lot by Stu Spector. Grain is very tight and smooth. More warmth than maple or ebony, but tighter than East Indian Rosewood. Excellent wear resistance, even on a fretless. For fretless, produces a somewhat more acoustic/upright tone than ebony.

MADAGASCAR ROSEWOOD: A less expensive alternative to Brazilian Rosewood. Many boards have the spider-web like grain of Brazilian. Rich reddish brown colors. Can be more open grained that some others. Tone is in the same ballpark as Morado and Brazilian. New supplies are limited.

AMAZON ROSEWOOD (Dalbergia Spruciana): A new alternative to Brazilian Rosewood. A true cousin to Dalbergia Nigra, Amazon Rosewood is more similar to Brazilian than any other wood.
 
BRAZILIAN ROSEWOOD (Dalbergia Nigra): For me, the King of tonewoods for fingerboards and acoustic guitar sides and backs. Beautiful browns and blacks. Wood has very high oil content. Banned from export out of Brazil in log form since 1969. Currently protected by the CITES treaty which prevents shipment between countries without intensive permits. Same treaty that protects tortoise shell and ivory.  We can only ship instruments with Brazilian Rosewood to a US address.  No longer recommended to musicians who travel internationally.


Check out more info and all the great instruments at Roger's shop at  www.sadowsky.com

Come back Soon,

Joe Pettengill