Category Archives: Markets

Tasmanian Primary Wood Processor Directory 2015

PFT TPWPD 2015

The Private Forests Tasmania wood processor directory for 2015 has been released.

http://www.pft.tas.gov.au/index.php/news/89-newversiontasprimwoodprocdirect

Here’s my review of the 2014 directory:

http://blackwoodgrowers.com.au/2014/10/27/blackwood-sawmillers/

This Directory has been primarily developed to help private forest owners with logs for sale to identify potential buyers. As well as enabling the forest owner to more easily locate and contact primary wood processors, it also identifies the log types purchased by them.

There is also a mutual benefit: this Directory will also help the listed primary wood processors to source logs from the Tasmanian private forest estate.

The Directory is a listing of 37 of the estimated 56 primary wood processing businesses, regardless of size, that Private Forests Tasmania (PFT) believed were operating within the State of Tasmania at the time of publication. Their inclusion in the Directory has only been with their consent. All the data was collected directly from them, including permission for PFT to list their business within this Directory. Not all processors either replied or agreed to be included in the Directory but PFT hopes that, over time, more will see the benefit of participating and that future editions of the Directory will list a greater proportion of the State’s primary wood processors, regardless of size.

Compared to last year only 37 of the estimated 56 wood processing businesses in the State are listed this year. Of these only 14 indicate they are interested in purchasing blackwood logs from private growers (blackwood or special species), down from 21 last year.

What does this reduction in blackwood processors/buyers indicate? Does it indicate a shrinking market? Or are businesses just choosing to stay off the Directory?

Last year 21 of 45 listed businesses were blackwood buyers, which to me indicated a very crowded marketplace. Perhaps too crowded given the limited private blackwood sawlog resource.

Even 14 of 37 businesses in 2015 is still too crowded in my opinion.

The Tasmanian blackwood industry needs to be more commercial, efficient and profitable. This means fewer processors who are processing larger volumes more efficiently, accessing more valuable markets and offering growers better money to encourage more blackwood growing.

Do these processors understand the critical part they play in ensuring the future of the industry? Or are we still in salvage mode going nowhere?

Commercial blackwood growing needs to be transparently and abundantly profitable for the industry to have a future. Right now we are a long way from that.

Personally I believe the blackwood log exporters have the best chance of helping to change the current situation and make the blackwood market more transparent and profitable.

PS. Curious how the most obvious things are sometimes the hardest to see. I just realised that Britton Brothers P/L, by far the largest blackwood sawmiller in the State, is in the directory but does not specifically list blackwood in the Logs Purchased list. Clearly the directory lacks some clarity and detail.

Ooops! Not such a success

Taylor-2014FLE

For the past few years Taylor Guitars have been heavily promoting Tasmanian blackwood as the great new sustainable tonewood.

But it seems the promotion plan has come off the rails.

This commentary is speculative but from what I know it fits the available evidence.

After the big release by Taylor of the 2014 Fall Limited Edition (FLE) models things appear to have come unstuck.

https://www.taylorguitars.com/guitars/limited-editions/fall-2014

http://blackwoodgrowers.com.au/2014/08/02/taylor-guitars-put-tasmanian-tonewoods-on-display/

http://blackwoodgrowers.com.au/2014/10/05/island-roots/

The Taylor 2014 FLE models put Tasmanian blackwood up against some serious competition in the way of Hawaiian koa and Tasmanian black heart sassafras, and without too much surprise, the competition appears to have won this race at least.

Sales of the koa and sassafras models were apparently so good that the all koa GS mini is now part of the standard GS mini range. Taylor then came back to Tasmania for a second order of sassafras timber which has now been included in the 2015 Summer Limited Edition (SLE) models.

https://www.taylorguitars.com/news/2015/07/06/taylor-guitars-debuts-stunning-quilted-sapele-curly-mahogany-and-blackheart

https://www.taylorguitars.com/guitars/acoustic/714ce-s-ltd

https://www.youtube.com/watch?feature=player_detailpage&v=zZyNsP-_hVU#t=235

No such joy for Tasmanian blackwood however. Clearly the 2014 FLE blackwood models failed to ignite the market.

Without too much hindsight this result isn’t a surprise.

The fact that the Winter 2015 Wood & Steel magazine from Taylor had a major focus on future tonewood supply but made no mention of Tasmanian blackwood, reinforces the likelihood that Taylor have shifted the focus away from blackwood.

https://www.taylorguitars.com/sites/default/files/Wood-Steel_Winter-2015_EN.pdf

Don’t get me wrong. I think Taylor Guitars are a great company and they make fantastic guitars. But everyone makes mistakes. I’m no marketing expert but here’s why I think the Tasmanian blackwood models failed to fire the market:

Too much serious competition

Of the four styles on offer for the 2014 FLE models, the blackwood models were by far the plainest and least visually appealing. Two of the models featured koa which is a well established quality tonewood in the American market. The Tasmanian blackheart sassafras, whilst new to the international commercial guitar market, was just so visually stunning and unique. Without any tonal heritage sassafras stole the show like a supermodel on the catwalk. Do I guess the premium acoustic guitar market is dominated by men? But who can blame them for being visual slaves. Of course not everyone wants a visually stunning guitar. Some people prefer the plain and unadorned. But that’s definitely not the dominant market.

Taylor sassafras 2014LTD

Product development and design.

Even ignoring the competition the blackwood design in the 2014 FLE lineup was just ordinary especially by Taylor’s very high standards. Taylors have a very strong sense of the aesthetic. So what happened?

If Taylor uses the limited editions to test new products in the marketplace then the 2014 FLE models merely reinforced existing market preferences for the rare, the visually stunning, and the familiar. In terms of pushing Tasmanian blackwood into the international tonewood market it failed.

So how do you introduce Tasmanian blackwood to the international tonewood market?

How do you introduce a plain grain premium tonewood to a market addicted to feature grain and visual appeal?

Here are some ideas:

  • Don’t introduce the product in competition with other products that already have an obvious market advantage;
  • a clear price differential is needed between plain and feature grain to reflect the fact that feature grain tonewood is a rare commodity;
  • if market resistance to new product is expected/encountered then perhaps introduce the product at a lower price bracket. If the product is good it will quickly move up into the premium market;
  • if introducing a new “plain” product into a premium market then extra effort is needed in product design, development and marketing.

Tasmanian blackwood has the potential to become an internationally recognised profitable, sustainable, premium tonewood but the road ahead remains uncertain.

I hope one day Taylor Guitars come back to Tasmanian blackwood.

Hooray for Peter Adams

The Talking Point in today’s Mercury newspaper by furniture designer/maker and artist Peter Adams is a rare and much welcome alternative opinion in the ongoing nonsense around special timbers and the prospect of logging the Tasmanian Wilderness World Heritage Area.

http://www.themercury.com.au/news/opinion/talking-point-far-more-beautiful-left-standing/story-fnj4f64i-1227474696519

Adams-bench

It is just so rare for someone within the forest industry to come out and publically challenge the current industry and policy orthodoxy.

From today forward, all timber workers, myself included, have to re-examine their use of speciality timbers.

That said, what I will never do is use any timber cut within the boundaries of a World Heritage Area. Nor should anyone.

My suggestion to Peter Adams and others (including consumers) is to:

  1. Use only farm-grown Tasmanian timbers;
  2. encourage Tasmanian farmers to grow more quality wood;
  3. pay Tasmanian farmers a price for their wood that reflects its real value and encourages more tree planting;
  4. support organisations such as mine that seek to encourage and teach farmers how to grow commercial blackwood in both plantations and remnant native forest.

Wood is not a taxpayer-subsidised community service. It is a commercial product.

Planting trees and managing plantations and forests costs real time and money.

The only way for Tasmania to have a successful forest industry, and realise the vision of Peter Adams, is for tree growing to be blatantly and transparently profitable.

Only Tasmanian farmers can make this happen; farmers who are passionate about growing a quality product.

I was up in the north west of the State this week for the first time in a while, and driving around imagining a rural landscape dotted with well managed forest remnants and plantations of blackwood. Instead I saw opportunities being wasted. Most farms have wet gullies, steep slopes and small areas too difficult to manage. Good land going to waste. These areas are just ideal for growing commercial blackwood.

One of the key things missing is the right commercial and political context to get these areas planted.

Peter Adams points the way to the future.

Award winning Tasmanian blackwood double bass

BresqueBass

Sydney-based double bass luthier Matthew Tucker has recently won the Silver Medal for Tone at the 2015 International Society of Bassists (you didn’t know such a group existed did you??) Convention in Fort Collins, Colorado.

http://bresque.studio205.net.au/

http://www.isbworldoffice.com/convention.asp

As the website says double bass judging consists of two quite different but very important factors: workmanship and tone. Certificates and Silver Medals are awarded in each class.

For an instrument to receive the coveted Gold Medal, it must have been recommended by all judges for a Silver Medal in both the workmanship and tone categories. In the history of the ISB Makers Competition there have been only four Gold Medals awarded.

So a silver medal in Tone is a huge vote of support for Matthew Tucker and for Tasmanian blackwood as a quality bass tonewood.

I took the bass over in June and entered it into the international makers competition, in a field of 25 makers. The Silver Medal is the highest award given in that category.

 

Here’s what the Judges said:

 

“Very easy to play. Lovely upper register G string, with a refined sound, excellent projection and good balance overall across the strings … the solo quality is striking. Although delicate, the sound has wonderful bottom to reinforce it.” – John Clayton

 

“Beautiful, clear and compelling tone, good consistent dynamic range and seamless response. Truly exceptional ergonomics … too easy to play! A fantastic, versatile bass” – Or Baraket

 

“This is a wonderful, easy to play travel bass especially for solo, jazz and chamber group.” – Nick Scales

 The bass is now on sale and can be played at AES Fine Instruments in New York.

Congratulations Matthew! Fantastic result.

Some more pics of this beautiful instrument:

Sunday morning eye candy

Here are some beautiful photos of a top-of-the-range Maton acoustic guitar from the Guitar Factory in Parramatta, Sydney, featuring some stunning fiddleback blackwood.

http://www.guitarfactory.com.au/CatalogueRetrieve.aspx?ProductID=9576579&A=SearchResult&SearchID=8509977&ObjectID=9576579&ObjectType=27

http://maton.com.au/product/w.a.-may-custom

Designed as a tribute to our founder, Bill May and to bring the best of our heritage and our guitar making skills together, the W.A May is a guitar for the connoisseur.

Victorian Blackwood (in our opinion the best tone wood available) back and sides combine with blackwood neck and AAA spruce face to produce a huge sounding dreadnought guitar. Add to that our unique Custom Shop voicing and craftsmanship, you have a guitar worthy of the name W.A May

That it features Victorian blackwood is fine by me.

It’s almost too good to play!

Enjoy!

Cole Clark ‘Australian Eco’ series

Some good news for a change from the usual political/forest industry dramas.

Cole Clark FL2EC-BLBL-AE

Melbourne-based Cole Clark guitars have just announced their all-Australian Eco series.

“These new models feature 100% sustainable timbers by replacing endangered timbers with sustainable Australian substitutes“.

Farm-grown Tasmanian blackwood features prominently in the series.

For those wanting to avoid rainforest timbers these are a great alternative.

The idea of an all-Australian commercial guitar has finally become reality.

Now the next step is to get farmers to actually start to plant and manage these timbers. I suspect most of these timbers are salvage logged rather than the result of active management.

But one step at a time.

Congratulations Cole Clark!

 

IST Blackwood Sawlog Tender Results 2014-15

IST 0515 log 16

Here is a summary of blackwood sawlog tender results from Island Specialty Timbers (IST) for the 2014-15 financial year.

http://www.islandspecialtytimbers.com.au

This follows my inaugural report last year:

http://blackwoodgrowers.com.au/2014/06/14/blackwood-sawlog-tender-results-2013-14/

During the year 14 lots of blackwood logs were put to tender by IST. These were individual logs except for two parcels of small logs in the October 2014 and January 2015 tenders. Only one log was unsold for the year from the August 2014 tender.

Total volume of blackwood logs sold was 31.06 cubic metres (or approximately 0.3% of the total volume of blackwood logs sold by Forestry Tasmania for the year) for a total value of $20,660.

Plain grain logs in 3 lots totalling 18.7 cubic metres sold for an average volume-weighted price of $227 per cubic metre.

Feature grain logs totalling 12.4 cubic metres sold for an average volume-weighted price of $1,325 per cubic metre.

These good prices were achieved despite many of the lots having quality issues (spiral grain, flutes, branch stubs, small diameter). Some of the lots could best be described as craft logs.

This compares with the special timbers average mill door log value of $134 per cubic metre that Forestry Tasmania received in 2013/14.

There was such a variety of log grades and qualities in these 14 lots that for analysis and summary I’ve grouped the logs into just plain and feature grain, as these seem to be the main determinants of price.

In general logs sold by IST are smaller and with more defects compared to logs sold under long-term contract to favoured customers. They do not represent average “run-of-the-bush” quality logs.

Table 1 summarises the tender results.

  Lot count Average of SED (cm) Average of Len (m) Average of Vol (m3) Sum of Vol (m3) Average of Unit Price ($/m3) Total Price ($)
Plain 3 44 5.9 1.0 18.67 $302 $4,244
Figured 10 60 3.9 1.2 12.39 $1,280 $16,420
Sold 13 57 4.3 1.1 31.06 $1,054 $20,664
Plain 1 69 2.4 1.2 1.20
Unsold 1 69 2.4 1.2 1.20

The highlights for the year were:

  • One small feature-grain log that sold for a unit value of $2,400 per cubic metre in the January 2015 tender, and
  • A log (1.6 cubic metres) that sold for $3,260 ($2,000 per cubic metre) in the February 2015 tender, which contained some feature grain but also had significant quality issues (sweep and spiral grain).

The lowest unit price for the year was achieved by the parcel of 13 small plain-grain logs in the October 2014 tender. This parcel totalled 10.1 cubic metres in volume, with average dimensions SED 42cm, LED 47cm, Len 5.0m, vol 0.78 cubic metres. This parcel sold for $200 per cubic metre.

Only one of the logs tendered approximated in size and quality what might be grown in a well managed blackwood plantation. This was Lot 20 in the March 2015 tender that sold for $620 or a unit price of $485 per cubic metre. This is a very good price and puts the value of a blackwood plantation at harvest at well over $100,000 per hectare!

Are any Tasmanian farmers interested?

In 2013/14 IST sold a total of 1,531 cubic metres of product including 136 cubic metres sold through the tender process “to ensure that the best possible prices were obtained” (Forestry Tasmania 2013/14 Annual Report). Only 16.1 of the 136 cubic metres (12%) was blackwood, despite the fact that blackwood comprises 80% of the special timbers harvest annually. I wonder how much of the 1,531 cubic metres of product was blackwood? We will never know. Frustratingly Forestry Tasmania don’t tell us how much the 1,531 or the 136 cubic metres sold for.

These tender results represent the only publically available competitive market prices for blackwood sawlogs. Given that blackwood is the only Tasmanian specialty timber that has the potential to have a commercial future these prices are important in alerting Tasmanian farmers and the wider community to the commercial opportunity that is available.

One thing that is clear from watching the regular IST tender results, the special timbers market is capable of paying extremely high prices for quality special timber logs as evidenced by the massive $5,900 per cubic metre paid for a tiger myrtle log at the April tender.

Caveats:

  1. Island Specialty Timbers (IST) is an enterprise of Forestry Tasmania established in 1992 to increase the recovery, availability and value of specialty timbers from harvesting activities in State forests.
  2. Forestry Tasmania manages its special timbers operations (including IST) as a taxpayer-funded, non-commercial, non-profit, community service.
  3. Note that all logs and wood sold by IST comes from the harvesting of public native old-growth forest and rainforest certified under AFS (PEFC).
  4. It is unlikely that this tiny set of market-based blackwood log prices is representative of the broader blackwood market.
  5. The dataset is too small to allow any analysis or correlations to be made between price and log quality apart from the obvious result that feature-grain logs attract a significant price premium over plain-grain.
  6. Remember also these tender prices are effectively mill door prices that already include harvesting and transport costs. They are not stumpage prices.

It would improve market transparency and stimulate greater investor interest if IST would tender more blackwood logs and demonstrate real commercial focus. Increasing the blackwood volume tendered to even 100 cubic metres per year would be a good start.

But whilst Forestry Tasmania, the State government and the State parliament all regard the special timbers industry as a community service and political play-thing rather than any commercial opportunity, then blackwood’s commercial future remains difficult.

When will Tasmania get a fully commercial, profitable forest industry, based on profitable tree-growing?

Taylor Custom GA 12-fret Blackwood / Red Cedar

There hasn’t been much in the way of new guitars featuring Tasmanian blackwood lately, but here is a one-off custom from Taylor Guitars via The Acoustic Letter.

A lovely little guitar, very nicely presented by the people at Taylor for a straight-grained (as distinct from feature-grained) blackwood guitar; and a great review from Tony Polecastro (& his amazing fly-catching pooch).

This one-off custom guitar is only available at The Acoustic Letter.

http://acousticletter.com/shop/taylor-custom-ga-12-fret-blackwood-red-cedar/

Happy viewing!

Eye fillet, sausages and guitars

cow

I’ve recently been engaged in an email discussion with the supply chain manager of a major guitar maker that has opened my eyes to some of the wood resource and marketing issues facing the industry.

The conversation started when I enquired whether the company would be interested in buying farm-grown Tasmanian blackwood to use in their guitars. The unequivocal answer came back that to date the company has found it difficult to sell guitars made from Tasmanian blackwood and hence would be reluctant to purchase more timber.

This and a few other comments they made got me thinking.

For the past 100 years and more the guitar industry has been able to access the very best cuts of wood available from around the world with which to build guitars. Rosewood, mahogany, ebony, quilted koa and maple, etc. All of these premium cuts have been accessible largely due to the plundering of the worlds old-growth and rainforest that is now coming to an end.

The guitar industry was like a butcher shop that only sold eye fillet steak. No mince, no sausages. Just premium quality meat. The fact that the rest of the forest products went to other markets helped the guitar industry enormously.

But the wild herds of bison, like the old growth and rainforests, have nearly all gone. Now the butcher shop has to start stocking rump steak, as well as the mince and sausages in order to stay in business, but after 100+ years the customers are finding it hard adjust to this change in diet.

So too the guitar makers are finding it difficult to identify and source sausages and mince that customers might want to buy. Many guitar makers appear to still be peddling nothing but premium cuts.

The words “alternative woods”, “sustainable” and “certified” are slowly becoming part of the daily life for guitar makers, and less so for consumers.

But the butcher shop analogy does have its limitations.

Many of these alternative woods are perfectly good for making quality guitars. In no way do they reflect a move to mince or sausage grade timber, but they do reflect the changes being forced upon guitar makers and reluctant consumers by a changing wood resource. But to the ordinary guitar buyer it feels like an eye fillet vs sausages decision.

What’s worse, the eye fillet, mince and sausages are often all priced the same. So given the choice the consumer is reluctant to try the alternative woods. I think this has been one of the problems with introducing Tasmanian blackwood onto the international tonewood market. Customers often need some incentives to try a new product.

And it’s not just new species of timber that is challenging guitar makers and buyers.

In some cases the eye fillet steak has simply been wood that is highly figured like maple and koa, with plain, straight-grain maple and koa having never featured in the guitar market to any extent. So the above major guitar maker has excess quantities of straight-grain koa and maple wood that they cannot sell to the guitar-buying public. Beautiful timber and great for making quality guitars but it’s just not eye fillet steak!

This is curious because straight grain rosewood and mahogany are perfectly acceptable to the guitar buying public. Years of being fed eye fillet steak has clearly made the market resistant to change.

Now from a forester and commercial blackwood grower’s view point all of this is a bit of a disaster.

Going back to the butcher shop again, a cattle farmer would quickly go out of business if they could only sell eye fillet steak. To be viable the farmer has to sell the whole animal with the various cuts of meat priced according to the supply and the demand. Basic economics 101.

Ditto for tree growers. Highly figured wood is rare. Straight-grain wood is more common. But the guitar market doesn’t reflect this supply situation, either in price or in marketing.

If guitar makers want to help tree growers, then they need to adjust their product development, marketing and sales to better reflect the supply situation regarding plain vs feature grain timber. Plain grain koa, maple and Tasmanian blackwood are great quality tonewoods just like plain grain mahogany and rosewood. Feature grain wood of any species should attract a premium price that is clearly over and above plain grain guitars.

Some guitar makers are better at product design than others. Putting a clear finish on a plain grain guitar especially if the wood is new or alternative may not meet with much buyer enthusiasm. Staining, edge-shading,  a bit of bling, and a price to encourage buyer interest will go a long way to help overcome the conservative guitar buyer.

But for the moment it seems that this major guitar maker won’t be encouraging Tasmanian farmers into the commercial blackwood tonewood market anytime soon.

Comments and ideas?

Leonardo Guitar Research Project

LGRP

I recently became aware of this great research project that is happening in Europe in response to the deforestation and the rapidly diminishing supply of traditional quality tonewoods from the world’s tropical rainforests.

http://www.leonardo-guitar-research.com/

This project should benefit Tasmanian blackwood growers as the global momentum to find/develop sustainable and profitable quality tonewood supplies increases.

Goal

The main goal of the Leonardo Guitar Research Project is to study, demonstrate and communicate the possibilities of building acoustic and classical guitars from non-tropical woods. We want to improve global expertise in the craft and adapt it to economic and ecological needs.

The first results from their research were recently published.

Results

All blind tests show that guitars made from non-tropical wood species were equally preferred for sound quality as those made from tropical wood. Non-blind tests show a strong fallback in sound appreciation experienced by non tropical wood guitars.

Conclusions

The need for the use of tropical wood in acoustic and classical guitar building seems to be a myth because blind tests have clearly proven that non-tropical woods can be used to make guitars whose tonal quality is fully equal to that of their tropical counterparts.

The fallback in sound appreciation experienced by non-tropical wood guitars in the non-blind tests, strongly suggests that preference is heavily influenced by preconceptions about what guitars should look like and about what exactly constitutes a tonewood.

All of which is great news. We don’t need to buy rosewood, mahogany or cocobolo guitars thinking that they make the best sounding guitars.

But we do already know that Tasmanian blackwood is an internationally recognised quality, sustainable, profitable non-tropical tonewood. We are just waiting for the market to come to Tasmania!

Having shown that these alternative non-tropical woods can make great guitars the next steps in this project should be:

  • Make the guitars more visually appealing to make the consumer choice easier;
  • Determine which woods are available in sustainable, commercial quantities. FSC certified sources would be even better. Surely the aim is to get the large manufacturers to start using these timbers;
  • Marketing! I would imagine a range of 100% FSC Certified, non-tropical guitars on display at NAMM and Musikmesse would attract significant attention.
  • Investigate sustainable non-tropical woods from other regions such as Tasmanian blackwood!!!

One of the objectives of the LGRP is to develop a network/database linking customers with luthiers, with growers and suppliers of sustainable, non-tropical tonewoods. While the current focus of the project is on common European woods there is every opportunity to expand this to other temperate zones.

Watch this space!