As a luthier, I strive to build ethically made instruments of exceptional quality. At Thurling Guitars, we make finely crafted guitars using ethically sourced timbers and sustainable tone woods. We also use non toxic finishes, and endeavor to make all our practices and procedures friendly to the environment. I know I am not alone in my wish to build more sustainable guitars, that are kinder to us and the planet, with no compromise on tone and quality. I am happy to be part of the change.
Ethically Sourced Timbers
Simply put, I have made a commitment not to purchase any unsustainably harvested new timbers from old growth forests. There are a handful of suppliers that supply sustainably harvested old growth timbers, which are normally FSC (Forest Stewardship Council) approved. Some suppliers pull these amazing, naturally fallen, 400 year old Spruces out of the forest with minimal impact on there surroundings. The important thing is that the FSC logo ensures that the forests are managed for future generations.
It is worth noting that the guitar industry uses a tiny amount of wood each year, an estimated 150 logs is all that would be needed to supply the entire industry for a whole year. 80% of the Sitka Spruce felled each year is used in the construction industry and buried in the walls of houses. So as you can see, it should be no problem to make guitar woods sustainable.
The guitar industry has already lost Brazilian Rosewood and Adirondack Spruce due to unsustainable practices. If we do not stop the unsustainable harvesting of all our guitar timbers, we will not be able to build future guitars using these amazing tonewoods.
Where I can I use recycled timber. Piano soundboards are a great source for some fabulous Spruce. I am constantly keeping my eyes open for wood I can use from all sorts of places.
Another source of wood is from old woodworkers or luthiers who stockpiled exotic woods before the current environmental awareness. In my opinion the best use for these now scarce woods is to build guitars with them.
It is worth noting that the guitar industry uses a tiny amount of wood each year, an estimated 150 logs is all that would be needed to supply the entire industry for a whole year. 80% of the Sitka Spruce felled each year is used in the construction industry and buried in the walls of houses. So as you can see, it should be no problem to make guitar woods sustainable.
The guitar industry has already lost Brazilian Rosewood and Adirondack Spruce due to unsustainable practices. If we do not stop the unsustainable harvesting of all our guitar timbers, we will not be able to build future guitars using these amazing tonewoods.
Where I can I use recycled timber. Piano soundboards are a great source for some fabulous Spruce. I am constantly keeping my eyes open for wood I can use from all sorts of places.
Another source of wood is from old woodworkers or luthiers who stockpiled exotic woods before the current environmental awareness. In my opinion the best use for these now scarce woods is to build guitars with them.
Sustainable Tone Woods
Although I use some traditional timbers, normally Spruce for the tops, I try to use sustainably harvested local timbers where I see appropriate. Not all timber is sustanably harvested, so as with the exotic timbers, I always source wood that has been ethically grown and felled. Most of the timber I use has naturally fallen and I can trace it back to it's source.
Australia has some fantastic tone woods. Blackwood is a great example. It's a close relative of Koa, a traditional guitar timber, is one of the finest choices for back and sides as well as necks. Blackwood has an amazing look and tone and is plentifull in Victoria and Tasmania - it is a 'go to' wood when I am thinking about making a guitar. There are many other fine Australian timbers that can be used, including Queensland maple, Celery top, Mountain ash and Bunya and there are many more yet to be experimented with.
In England many contemporary guitar makers are having a lot of success using local fruit woods. The acoustic guitar is still a young instrument and it is still evolving both in it's construction and it's materials. I consider experimenting with timber choices as part of the evolution, but I am very careful not to do it for the sake of being different. Keeping the tone I wish to achieve in mind is always paramount.
Australia has some fantastic tone woods. Blackwood is a great example. It's a close relative of Koa, a traditional guitar timber, is one of the finest choices for back and sides as well as necks. Blackwood has an amazing look and tone and is plentifull in Victoria and Tasmania - it is a 'go to' wood when I am thinking about making a guitar. There are many other fine Australian timbers that can be used, including Queensland maple, Celery top, Mountain ash and Bunya and there are many more yet to be experimented with.
In England many contemporary guitar makers are having a lot of success using local fruit woods. The acoustic guitar is still a young instrument and it is still evolving both in it's construction and it's materials. I consider experimenting with timber choices as part of the evolution, but I am very careful not to do it for the sake of being different. Keeping the tone I wish to achieve in mind is always paramount.
Finish
Almost all steel string acoustic guitars are finished with highly toxic lacquers. Apart from the environmental issues in using such finishes, there are also severe health concerns associated with their use. You only have to open up one of these tins and smell the fumes to quickly realise they are very toxic indeed. In many countries their use is heavily regulated, so as not to pump the fumes into the environment or harm those working with them.
I have been researching and experimenting with non toxic guitar finishes for a little while now. I currently offer two alternatives. My preferred finish is shellac or French polish. Shellac is a very traditional guitar finish and is still used on high end classical guitars.
I use non traditional techniques, buffing to high gloss or rubbing out to a satin finish. A French polish is the best finish for tone available, much better than any lacquer. A French polish is a thinner, more breathable membrane. Lacquers are thicker and more rigid, inhibiting the woods natural vibratory properties.
The second finish I offer is an oil finish. I tried many oils to find one with the correct properties for guitar making. The oil needs to not penetrate too much into the wood, but instead form a thin skin that does not effect the tone. Both finishes are non toxic and have their pros and cons, but are equally as good, tonally and visually as any of the commonly used lacquers.
I am currently looking at water based lacquers and may be adding this as an option in the near future.
I have been researching and experimenting with non toxic guitar finishes for a little while now. I currently offer two alternatives. My preferred finish is shellac or French polish. Shellac is a very traditional guitar finish and is still used on high end classical guitars.
I use non traditional techniques, buffing to high gloss or rubbing out to a satin finish. A French polish is the best finish for tone available, much better than any lacquer. A French polish is a thinner, more breathable membrane. Lacquers are thicker and more rigid, inhibiting the woods natural vibratory properties.
The second finish I offer is an oil finish. I tried many oils to find one with the correct properties for guitar making. The oil needs to not penetrate too much into the wood, but instead form a thin skin that does not effect the tone. Both finishes are non toxic and have their pros and cons, but are equally as good, tonally and visually as any of the commonly used lacquers.
I am currently looking at water based lacquers and may be adding this as an option in the near future.
