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Ah.... that makes it all SOO much clearer. Thank you for that :)I think Mike was simply responding to your curiosity comment.
No problem. It took me a long time to figure how to understand crotchety language, but happy to translate anytime.Ah.... that makes it all SOO much clearer. Thank you for that :)
Yeah, you are right that there are aspects I am unfamiliar with to-date. It will just take time working with them to learn those finer details.Playing that much amount with all the different permutations of wood components is valuable edge at your end. To me that is 50% of the battle. The other 50% is to get close and personal for each species by evaluating each at every level in raw form, formulating data, difference in density and workability, mechanical properties, physical properties, tap tone, pairings, eq., different aroma, etc. It took me awhile to understand the whole density spectrum where there is low, medium and high that how important those are depending on your voicing goal. You see a lot of acoustics made out of East Indian rosewood and Brazilian rosewood with a common denominator they have is that they sit at the middle of that density spectrum. That is about 4-1/2 pounds per board foot. That is my own personal observation.
Find a way to make China follow the rules... I know someone that goes to Laos to buy wood. He goes during Chinese holiday. He says they follow no rules, buy the authorities. Own the railroad that goes to China. Mozambique, I have read that up to 90% of the wood cut there is not legal. Where does most go. China. Thailand has some of the strictest rules. The military shoots people stealing wood. A lot of woods goes through border there.solutions will be difficult to impossibleAgreed that CITES doesn’t work well - especially in the world of wood. (You could argue that it has its place in exotic animal parts.) serious question, though…
What can be done to improve CITES or how would you design a whole new program that would work better?