STEVE MCCREARY: Here's a nice Bird's Eye f-style, and Bird's Eye is also -- it's a sign of distressed maple. It's what makes that happen. You can have the same tree, you can have part of the tree not -- you have Bird's Eye, part having Bird's Eye but it's tough, tough growing period of certain amount of years of some distress from lack of rain or whatever, and then the outside of the tree can also go back to having no Bird's Eye.

This would be one of the deluxes. This is the deluxe inlay but we'll have perhaps an artist in house or sometimes we'll bring in a tattoo artist that will do engraving, and they're different in every -- there will be etching all in this and like will be different - Every one is a little different. They'll do flaming heads or little stones or all kinds of stuff. Everyone has a little unique individuality. That's one of the deluxe [INDISCERNIBLE]. It's a tortoise bound deluxe. You can see a difference in the ivoroid binding and the tortoise binding. We all like tortoise binding around here. Adirondack Spruce top, Eastern Red Spruce.

PATRICK OGLE: Adirondack. Now, I didn't think there was much of that around.

STEVE MCCREARY: There's not -- certainly not enough of it around. It's become a very popular wood in the last several years. People talk about it everyday. They don't know how to even pronounce it. National parks say it's a big deal. The trees are small, they grow on mountainsides, they twist and turn to get up to the light. It's hard to get a really good yield out of it. You got a lot of runout, which is what we see increasing in acoustic guitars before in that the two halves of the top have different color, reflecting light differently because there's a twist in that tree and you cut it, put them together, you put it nice and it sets, the grains hitting different due to the twist in the tree.

PATRICK OGLE: It's tricky work.

STEVE MCCREARY: Coloring it, winter lines. It's gotten really expensive because it is hard to get. It's hard to get good yield so the cutters and the processors have to charge for it. It's a really -- It's a supply-and-demand type of material and so there's a huge demand for it and not much supply so we had t have orders waiting for it some time, and some guys are really picky and don't like to see the color in it, and we basically say, "It's wood, it's out of the tree. It's, you know, if you want something perfect, go and buy a wooden handmade guitar." The preference is to find stuff down. A lot of the, for example, Sitka Spruce, stuff we buy from Northwest, this stuff it is down. It falls off. A lot of the companies we buy it from -- we used to buy if from are from the Northwest Marine, for example, Marine Timber Company. These are wood -- trees that were down. I've seen a lot of photographs that started even coming out of Central America with trees that were down, that had been submerged for decades, and they're bringing them up and milling them out and making guitar with it, and there's logs and trees in the bottom of the great lakes that are being brought out and made tops out of them and stuff, so I mean it's wood and it's going to be a challenge for our builders as the years and decades go by too. Woods are going to get more and more scarce, and I think there should be some -- Some guitars I think should be using different materials and not use some of these spruce. I think 50 trees a year would supply most of the whole American guitar production for a year, just 50 trees, but I think there's a lot of instruments that probably could use different material. A lot of spruce, most of the Sitkas end up being 2 x 4's and go overseas into houses in Japan or something because really the guitar industry uses just a tiny percentage of what's harvested every --

PATRICK OGLE: There's a company called Sealaska that basically clearly cuts spruce [OVERLAPPING].

STEVE MCCREARY: Yeah. I'm still going through all that stuff which don't get me started. [LAUGHS]

PATRICK OGLE: I wrote a page -- a four-part article where I talk to people who bought Taylor and people [OVERLAPPING] about that and--

STEVE MCCREARY: Yeah, and those guys I mean they're one of the bigger manufacturers and of course their needs for wood are tremendous so they have a very big concern about the future of the source of wood, you know, Martin and - Chris Martin and his guys and Bob Taylor and the guys at Gibson, and all these guys who need sources of wood.

PATRICK OGLE: Sources of wood. [OVERLAPPING] or was it?

STEVE MCCREARY: Greenpeace.

PATRICK OGLE: Yeah. They're working with them to work kind of a deal where they would preserve some of the forests.

STEVE MCCREARY: Yeah that's all this sustainable yield stuff, and you know I mean that cutters like India are really smart because they're farming Indian Rosewood, which is a very common guitar wood for backs and sides so, Unfortunately, those trees would grow faster than an old-growth spruce stand will and people ask me all the time too about you know, "Can you plant -- Can I plant some Brazilian Rosewood trees?" and I say, "Knock yourself out." I don't know what's that going to do. I don't know if were going to grow it out here.

PATRICK OGLE: Grow it out here. Yeah, yeah, if they grow.

STEVE MCCREARY: So yeah. Woods are of course always a topic of concern for everybody.