My Hormigo Guitar

Hormigo Guitar IAF 3

My new Hormigo guitar, built by Taylor Guitars, wood (back & sides) from Izabal Agro Forest

I started playing the guitar when I was 14 years old.  When my Dad bought me my first classical guitar, a Yamaha G-230 (that I still have!) from black market guitars in San Francisco I was thrilled.  I remember looking at the mahogany back, wondering about the workmanship and incredible quality of the wood.  21 years later I commissioned my first custom-made guitar.  The idea, from the beginning was to use woods grown on our farm, initially I thought we would use some of our plantation Mahogany or Rosewood, but my Dad suggested we do something more experimental.  “Why not Hormigo?” he said.  Hormigo, Platymiscium dimorphandrum, is a rich gold and brown tropical hardwood, what was intriguing about his idea however is that in Guatemala it is considered the finest tonewood for marimbas.  Naturally then, we thought it would make a good guitar.

With the decision made, we had a piece cut with our Hudson bandsaw, and sent it over to my friend Chris Cosgrove, wood buyer for Taylor guitars in California.  I gave them the specifications and a few weeks later we received this beauty in the mail.    The tone is beautiful and rich, and I’ll let the images speak to the quality of the finish.

For more information about our tonewood plantation please visit: izabalagroforest.com

Hormigo Guitar IAF 1

Hormigo body and sides, mahogany neck, spruce soundboard, with Cocobolo inlay

Hormigo Guitar IAF 2

Using the sapwood adds to the natural beauty of the Hormigo grain.

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The first of many instruments to be made from lumber sustainably grown lumber at Izabal Agro-Forest

Hormigo Guitar IAF 5

Hormigo grain, Platymiscium spp.

Hormigo Guitar IAF 7

The front of the guitar was made from Norther Spruce, however the inlay around the sound hole was made from Cocobolo

Thank you to all the good folks over at Taylor guitars.

Thank you to all the good folks over at Taylor guitars.

Hormigo-made marimba

Taylor Guitars

Finished Taylor Guitars

Finished Taylor Guitars

We visit home, California, a couple times a year.  While here we bask in the fresh food, family fun and general goodness that is the Bay Area.  It also gives me an opportunity to visit with the wood workers and craftsmen that consume the hardwoods we work so hard to cultivate and protect in the tropics.

A few days ago I had the opportunity to visit the Taylor Guitar facilities in Southern California.  Taylor is a world class acoustic guitar producer that has become one of the leading proponents of sustainable hardwood sourcing.  They use Genuine Mahogany, Cocobolo, Sapele, Koa, Rosewood, Ebony and other species for their guitar components.  After a substantial number of processes, including milling, drying, sanding, laser cutting, treating, sealing and more, the incredible aesthetic potential of these woods is revealed in spectacular fashion.  The shapes, patterns, color and luster were a vivid reminder of why these woods have been sought and traded for so long.

My host was Chris Cosgrove, wood buyer for Taylor Guitars.  He, better than most, understands the finite nature of these endangered woods (most are cites appendix I or II listed) and we’ve been discussing long-term sourcing solutions for their instruments.  To the company’s credit, they work with responsible suppliers and concessions and do their best to buy from sustainable sources.  Recently they’ve invested in a concession and mill in Cameroon, a move that was risky but possibly necessary to secure the medium term availability of precious hardwoods, particularly ebony (Diospyros crassiflora).

Taylor’s Spring Limited Edition Granadillo and Ebony Guitars

Since I’ve always been a huge fan of Mahogany and its viability as plantation species we spent quite a bit of time discussing its qualities and availability.  In their warehouses we saw Mahogany from Fiji, Guatemala, Belize and Honduras.  (Only the Fijean lumber is plantation sourced, however Fijian politics and bureaucracy have severely limited its viability.)  Tropical Mahogany is one of the most important tonewood species, used by generations of instrument makers for its workability and balanced tonewood qualities:

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Genuine Mahogany (darker boards) at the Taylor facilities

In general most tropical tonewoods are sourced from natural (non-plantation) forests, which means of course that they are being depleted without being replaced.  Species like Cocobolo and American Rosewood are already difficult to acquire and must be extracted from isolated forests, which even if purchased legally (bought through a concession) will be subject to less oversight.  (see National Geographic’s recent issue on Mahogany for the many problems with concessions: June 2013)  Essentially there is and will continue to be a need for plantation tonewoods, even moreso in the next decade when the concessions dry up.  Musicians and lute makers alike would do well to consider the future of their craft and consider and support the only viable, not to mention sustainable, solution for their longterm raw material needs: meaning an international tonewood reserve & plantation needs to be established and supported as soon as possible.

A few photos from my visit:

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