{"id":2680,"date":"2024-04-25T20:15:48","date_gmt":"2024-04-25T17:15:48","guid":{"rendered":"https:\/\/gasguitarworks.fi\/?page_id=2680"},"modified":"2026-01-25T16:32:45","modified_gmt":"2026-01-25T14:32:45","slug":"kitara-kierratyspuusta","status":"publish","type":"page","link":"https:\/\/gasguitarworks.fi\/en\/kitara-kierratyspuusta\/","title":{"rendered":"Reclaimed Wood Guitars"},"content":{"rendered":"
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RECLAIMED WOOD GUITARS<\/h1>\n\n\n\n

Sinker and reclaimed wood \u2013 back to the beginning of time<\/h3>\n\n\n\n

Ty\u00f6ss\u00e4ni artesaanina ja soitinrakentajana olen tutustunut lukuisiin puulajeihin.  Yleens\u00e4 tied\u00e4n jo etuk\u00e4teen tutkimalla ja koputtelemalla mitk\u00e4 puut yhdist\u00e4m\u00e4ll\u00e4 tulokseksi saadaan huippusoitin. Soitinrakennuksessa k\u00e4ytet\u00e4\u00e4n p\u00e4\u00e4asiassa siihen helposti saatavissa olevia tuttuja puulajeja, kuten lepp\u00e4\u00e4, suosaarnia, mahonkia, vaahteraa, ruusupuuta ja eebenpuuta.<\/p>\n\n\n\n

Harvemmin k\u00e4ytetyist\u00e4 puulajeista syntyy my\u00f6s erinomaisia soittimia. Runkoja olen valmistanut mm. m\u00e4nnyst\u00e4, poppelista, bibolosta, puna seetrist\u00e4, p\u00e4hkin\u00e4puusta  ja kansipuina olen k\u00e4ytt\u00e4nyt  cocoboloa, spaltti- ja loimuvaahteraa\/koivua, p\u00e4hkin\u00e4puuta, eebeni\u00e4, sek\u00e4 eri puulajien juuripahkoja. Kaulapuun on oltava erityisen stabiili, mutta sen ei tarvitse aina olla vaahteraa tai mahonkia. Laminointi ( liimaus useista paloista) hillikuitu- tai titaanivahvikkeet ja otelaudan ty\u00f6st\u00e4minen kaarevaksi my\u00f6s alapinnalta lis\u00e4\u00e4v\u00e4t kaulan j\u00e4ykkyytt\u00e4.<\/p>\n\n\n\n

In recent years I have specialized in working with exceptionally old wood\u2014from reclaimed material 100\u2013200 years old (taken from old buildings, furniture, floorboards, tables, etc.) to sinker wood thousands of years old (such as Arctic sinker pine). The age of sinker wood has been verified through radiocarbon dating: the oldest trunks date back to the very beginning of the calendar era, and some even earlier.<\/p>\n\n\n\n

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Reclaimed floorboards from the Finnish Sniper Battalion officers\u2019 barracks, completed in the 19th century. At the time of logging, the trees were around 200\u2013400 years old.<\/em><\/figcaption><\/figure>\n\n\n\n

Today, it has also become fashionable to use heat-treated (or \u201croasted\u201d) wood in guitar making. The goal is to artificially reproduce the same effect as natural aging. Heat treatment dries the wood, makes it lighter and more stable, and darkens its color. As a result, it withstands changes in temperature and humidity much better\u2014qualities highly desirable for instruments. Microscopic studies comparing heat-treated wood to naturally aged wood show some similarities in cellular structure, but in reality nothing can replace authentic, naturally aged timber.<\/p>\n\n\n\n

When it comes to truly ancient wood, availability is more a matter of luck than planning. Typically, old-growth sinker logs lie deep at the bottom of lakes and rivers, either lost during timber rafting or submerged when forested slopes collapsed in landslides. Arctic cold waters, oxygen-free sludge, and high water pressure have preserved these trees in exceptional condition.<\/p>\n\n\n\n

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2000-year-old sinker pine, dived up from the bottom of a lake in the 1980s. These trees were originally brought down by storms and could still be found in deep, rocky waters.<\/em><\/figcaption><\/figure>\n\n\n\n

Over the centuries, minerals in the water have stained and patterned the wood in unique ways. Lignins and essential oils gradually dissolve out, so the water essentially opens up the cellular structure\u2014something that does not happen in air-dried wood. Limited availability and extraordinary qualities have made sinker wood highly valued in recent years. These trunks originate from a time when trees grew much more slowly than today. The density of a centuries-old pine can be up to ten times that of modern equivalents; I have counted more than 50 growth rings within a single centimeter. Such structure and density inevitably influence the wood\u2019s tonal qualities. Timber of this caliber is no longer available anywhere, which makes it especially well suited for instrument building.<\/p>\n\n\n\n

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Approx. 400-year-old sinker wood from the waterfront of Oulu, Finland. The wood is so dense that the growth rings cannot even be counted with the naked eye.<\/em><\/figcaption><\/figure>\n\n\n\n

Once dried properly, sinker wood no longer absorbs moisture from the ground or the air. Its cellular structure has changed, giving it water-repellent properties. This makes the wood lighter and practically eliminates swelling or shrinking caused by humidity. With the right finish\u2014for example, a breathing nitrocellulose lacquer\u2014the wood will continue to dry as part of the instrument, improving even further over time and with playing.<\/p>\n\n\n\n

Fender built its very first electric guitar bodies from pine. Old sinker pine has a wonderfully strong and unique fragrance that fills the workshop amidst the hum of the machinery. A special energy radiates from old wood, giving these instruments their own distinctive sound, feel, and character. Having aged not only in years but also in composition after centuries underwater, a new instrument made from this wood is essentially already \u201cvintage.\u201d There is no need to wait another 50\u201360 years for the same result.<\/p>\n\n\n\n

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Mahogany neck blanks from a Honduran tabletop at least 200 years old.<\/em><\/figcaption><\/figure>\n\n\n\n

In Japan, it is commonly believed that every tree has a spirit. I\u2019ve come to think the Japanese may not be entirely wrong. Playing an instrument built from wood over 2000 years old is a moving experience\u2014it offers a unique perspective on the passage of time and on life itself. What events has this wood \u201cwitnessed\u201d in its lifetime? Such questions often arise when working with reclaimed wood taken from old buildings or furniture.<\/p>\n\n\n\n

At GAS Guitarworks, there is currently an unusually good selection of these old treasures compared to normal circumstances\u2014which makes this topic especially timely. The sinker wood selection depends largely on the drying process of different species and batches, while the supply of reclaimed wood is dictated by availability. These woods have already made a deep impression on many players, both in Finland and abroad. You are warmly welcome to explore the wood and try out the finished instruments at the GAS workshop in Tampere, Finland.<\/p>\n\n\n\n

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GAS Keeper Heavy Relic<\/strong><\/p>\n\n\n\n

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