“Mastering the Art of Wood Selection”

Mastering the Art of Wood Selection: Insights from a Wood Technology Expert on Crafting Fine Instruments

Interview with Luthier On Call and Ivonne Edith M.Sc. in Wood Science . Wood Science Teacher at the School Of Luthieria, Querétaro

Mastering the Art of Wood Selection: Insights from a Wood Technology Expert on Crafting Fine Instruments

INTRODUCTION AND CAREER

Luthier on Call : Can you tell us a bit about your career and how you became a teacher at the School of Luthiería in Mexico?

Ivonne Edith: Hello, of course! As a chemical engineer who graduated from UMSNH, I began my career working in two industrial companies, focusing on research and development of packaging and products. This area was particularly enjoyable, leading me to pursue a master’s degree in wood sciences, closely related to wood chemistry and extractives, due to my experience working in an oil company.

I specialized in molecularly identifying trees from their wood to prevent illegal logging. During my master’s, I met my dear teachers Teresa and Bocanegra, who saw potential in me to work in luthiery and wood. Soon after, I was offered a teaching position at the Escuela de Lauderia, and now I teach wood sciences to reinforce topics in musical instrument construction.

LOC: What inspired you to specialize in wood science and its application in making musical instruments?

Ivonne Edith: I believe it was my teachers, especially seeing the need for research in this area and the necessity to find solutions for tree identification due to excessive logging and the lack of traceability sought at customs. Additionally, I could replicate this technique in highly degraded wood and saw its potential for identifying wood in art pieces or various sectors.

WOOD SCIENCE IN STRING INSTRUMENTS

LOC: What wood characteristics are most important when making violins, violas, and cellos?

Ivonne Edith: All aspects are important. Anatomy teaches us about aesthetics and details, chemistry about its behavior with adhesives and other woods, physics about its dynamic and sound behavior, and preservation and drying tell us how to care for it before and after installation.

LOC: How does the choice of wood influence the sound and quality of these instruments?

Ivonne Edith: I always thought that a good wood choice results in a good instrument. Knowing basic properties like density helps prevent various factors in construction.

LOC: Can you explain how wood is selected and treated to ensure its durability and resonance in bowed string instruments?

Ivonne Edith: This depends a lot on the country and what suppliers offer. However, it is important to have radial cutting, good drying, and measure other variables like density and sound propagation speed. Also, check for aesthetic irregularities.

WOOD SELECTION AND TREATMENT PROCESS

LOC: What specific techniques are used to work with wood intended for these instruments?

Ivonne Edith: Before construction, the main technique is air drying, taking variables, and aligning the grain.

INNOVATION AND TRADITION IN WOOD SCIENCE

LOC: How do you balance tradition and innovation in your work with wood for bowed string instruments?

Ivonne Edith: I try to see science as a tool for research and advancement, especially since my students have seen the need to understand what is happening with numbers. This motivates me to find a balance between science and tradition for better performance in instrument construction.

LOC: Are there new technologies or methods revolutionizing wood selection and treatment for violins and other violin family instruments?

Ivonne Edith: Yes, currently, computer-assisted wood simulation methods are being developed to review wood structure morphology. We have conducted micro-computed tomography to understand the sound and provide an overview of how wood material functions.

IMPORTANCE OF INSTRUMENT CHOICE

LOC: Why is it crucial for musicians to understand the details about wood and its treatment when choosing a violin, viola, or cello?

Ivonne Edith: It provides a clearer picture of wood and its functionality in the instrument. We have seen that the luthier and musician must be in sync to translate the sound needs of each part, leading to better optimization of what is happening in the soundbox. Reading the instrument is like reading sheet music.

LOC: What advice would you give to someone looking to buy their first violin in terms of materials and construction?

Ivonne Edith: They should approach expert luthiers and not just play the instrument but get to know it more intimately and understand it from its construction.

ENVIRONMENTAL IMPACT IN WOOD SCIENCE

LOC: How do sustainability and forest management affect the availability and quality of wood for bowed string instruments?

Ivonne Edith: This is a very interesting topic. First, I feel it is important to be proud of constructing with wood. Wood is the only material that continues to leave a positive carbon footprint even when cut down. While it is true that we must continue reforesting, it is beautiful that we can have wood again through properly channeled reforestation. Moreover, buying legal wood ensures that reforestation continues.

LOC: What sustainable practices are being adopted in the luthiery industry to protect natural resources?

Ivonne Edith: Legal wood purchasing, inspecting imported wood, reforestation, and forestation. In Mexican schools, at least planting the seed of characterizing wood to understand it better and optimize construction processes.

EXPERIENCES AND ANECDOTES

LOC: Do you have any interesting or memorable anecdotes from your career working with wood for bowed string instruments that you’d like to share?

Ivonne Edith: There are many stories to tell. In Mexico, I have been fortunate to meet great luthiers. But I think my most recent story was in Paracho, where there was a women’s festival in guitar making. It is very gratifying to see women also in this sector. Although it is still a controversial topic, women do what they love best: building or varnishing instruments. It fills me with pride because it is a Michoacan town with worldwide recognition.

LOC: What has been the most challenging or rewarding project you have worked on in relation to wood for violins, violas, or cellos?

Ivonne Edith: Trying to teach wood sciences! It’s funny because we all have a bit of everything, but science is not everyone’s strong suit. I try to create a concept called applied science. In the lab, we develop science techniques to bring them to the workshop. It’s a challenge because we have specialized equipment in the lab, but not in the workshop. So replicating lab techniques in the workshop is a challenge we are achieving.

FUTURE OF WOOD SCIENCE IN BOWED STRING INSTRUMENTS

LOC: How do you see the future of wood science in the making of violins and other bowed string instruments in the coming years?

Ivonne Edith: As a powerful tool, when there is knowledge, desire, and passion, better results can be achieved.

LOC: What do you hope to achieve or research in the future in your field, especially in relation to violin family instruments?

Ivonne Edith: I would love to set up my own laboratory for molecular identification and physical-mechanical characterization of wood and continue discovering better variables for musical instruments.

 Conclusion

Wood sciences provide answers to questions we might not even know to ask when constructing an instrument or a wood project. They allow us to understand the material from its basic or complex composition, as needed. Everyone is encouraged to keep learning and growing, as this helps bridge the gap between knowledge and effectiveness. Every day, I learn something necessary for the workshop, which we then translate into the laboratory for data analysis that gives us a sense and a more optimal way to work with wood in the workshop. Today, there are great challenges we must undertake and overcome daily, including learning something new and feeling that we are doing things effectively, or as I call it, with ‘science.

We must also seek guidance in what we are studying and doing because, throughout my life, I have learned many ways to do science. But the biggest challenge for me has been teaching in such a fast-paced world, and having someone translate the world of wood for you is very enriching, as my teachers taught me. For some reason, I always wanted to learn to play the violin.

Due to life’s circumstances, I haven’t been able to do so, but I am content with seeing my students, seeing how they build and play each piece of wood, and transform it into music. It gives meaning, and I know that the sound came with a perfect chord between wood, rhythm, and science, motivating me to my next challenge.