Pete Howlett
Well-known member
I have an instrument for sale in the market place which has caused some discussion for one reason and another. However a question about Korina arose and a reference pointed to an article about Gibson's use of this wood in the 70s.
I have several different boards of this stuff - some of it is over 30 years in storage and some is recently out of the kiln. First off, I would not compare it with mahogany since its working properties are different, or at least different in the pieces I have. Unlike mahogany, the stuff I have has a density similar to that of African cedar. Also the stuff I have is the 'spalted' kind, tho this term is the best one to apply to the 'black limba' description, it is not a spalting that causes rot or pockets of soft grain. When cut, it is very stable. I always resaw then leave on the bench the cut pile to see if it will cup - the top slice of any resawing usually does but this stuff remains flat. It does not have the coarse pore structure that you get with some mahoganies and when sanding produces a good surface quickly with quite 'chalky' dust. Grain filling is minimal. Unlike mahogany it bends very easily but again, like all wood, there are times when you need a back strap when hand bending. Acoustically, and as far as I am concerned, it is superior to mahogany. Like all woods you can get flame and really nice figure with the black line contrast. It's great for necks because of its stability but the one hue advantage it has over the traditional exotics is it is not yet on the CITES list! I pair this wood up with mgurure for fingerboards and bridges and hey presto, a uke with a full travel permit without the need for paperwork. What also makes this a special wood is its rarity. I just happened to stumble upon a source and you will see quite a few PHU tenors in this stuff come of my bench in the next year.
I have several different boards of this stuff - some of it is over 30 years in storage and some is recently out of the kiln. First off, I would not compare it with mahogany since its working properties are different, or at least different in the pieces I have. Unlike mahogany, the stuff I have has a density similar to that of African cedar. Also the stuff I have is the 'spalted' kind, tho this term is the best one to apply to the 'black limba' description, it is not a spalting that causes rot or pockets of soft grain. When cut, it is very stable. I always resaw then leave on the bench the cut pile to see if it will cup - the top slice of any resawing usually does but this stuff remains flat. It does not have the coarse pore structure that you get with some mahoganies and when sanding produces a good surface quickly with quite 'chalky' dust. Grain filling is minimal. Unlike mahogany it bends very easily but again, like all wood, there are times when you need a back strap when hand bending. Acoustically, and as far as I am concerned, it is superior to mahogany. Like all woods you can get flame and really nice figure with the black line contrast. It's great for necks because of its stability but the one hue advantage it has over the traditional exotics is it is not yet on the CITES list! I pair this wood up with mgurure for fingerboards and bridges and hey presto, a uke with a full travel permit without the need for paperwork. What also makes this a special wood is its rarity. I just happened to stumble upon a source and you will see quite a few PHU tenors in this stuff come of my bench in the next year.