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Mode Marimba, Inc

Rosewood: "One Last Breath"

Demorrow, Bergerault, Marimba One, Adams, Majestic, and Mode Marimba.Inc. represent their views on the state and future of rosewood as a commodity for marimbas.

rosewood marimba marimba manufacturer panelPASIC.jpg

International marimba manufacturers panel on the state of and future of trading and transporting endangered rosewood.

 Transcript : Each participant shares their ideas on rosewood, its importance and its challenges for the future.

PASIC 2018 - Panel Discussion: “Rosewood: One Last Breath?”

Saturday, November 17th, 9AM Room 201

Gordon Stout, moderator. Doug DeMorrow. Ron Samuels. Omar Carmenates. Mark

Ford. John Glowka. She-e Wu. Fernando Meza. Frans Swinkels.

Thomas Burritt (Presider)”

Happy Saturday morning to everybody at PASIC.

It is my honor as keyboard committee member to get today’s session started.

It is obviously a very important topic near and dear to so many of our hearts.

Gordon Stout will be our moderator this morning. You all know Gordon, I'm sure.

He is a PAS Hall of Fame Member and obviously very passionate about this topic, I'm

now going to turn it over to Gordon and waste no more time.

Gordon Stout (Moderator): Thank you Thomas

A wonderful panel has been put together here. I am very happy to have them all here.

Having written to each of them in advance, they each have 2-3 minutes to answer

questions that I posed to them.


1. What are the problems with continuing to make Honduran Rosewood marimbas into

the future (the next 10-20 years)?

2. As a manufacturer what will your company do about the dwindling supply of

Honduran Rosewood?

3. As a player/educator/professional should we do everything possible to foster an

attitude that puts the respect of the wood at the highest level? Should there be a

paradigm shift in the consciousness of the percussion industry and community towards

that end?

Please feel free to answer any of those questions however you might wish.

Gordon: At PASIC 2013 Omar presented a discussion about Rosewood based on his

doctoral dissertation. That was never another session was to further discuss the ideas and

knowledge presented at that time. The main reason I submitted this proposal was to

follow up on the information he presented in 2013.

Omar Carmenates (Furman University):

It’s an honor to join this esteemed panel and to get to talk about this topic that’s very

dear to me. I was hoping I go a little later depending on where the room went. So I'm

going to come at this probably from a different angle than most of the people on stage, to

the questions of what are the problems of continuing to make Rosewood marimbas into

the future.

A couple things I think we all have to understand is that we have the industry, we have

performers, how we treat the instruments and how we build them. However there is a

global aspect of this and it is important that all of us understand that perspective and how

the socio-political environment in all these other things fit into our instrument - we're

just but a small part of that.

To start, I think one thing certainly its something that manufacturers know. There

aren't necessarily rows of Rosewood trees waiting on a neat farm. It’s a jungle tree. It

grows in the wild. This is very important. It is part of a local ecosystem in Guatemala

and Belize. It is part of an economy. It is part of a society there and it grows in a very

small part of the world.

So many issues we face are not just how we will build them, how we play them, but

there are issues of climate change, habitat loss, slash and burn agriculture, cattle grazing,

the furniture industry, and how the wood is used in all those industries. We are but a very

small part of that and some of the larger things to consider are the economy: when it

comes down to it the people, when it comes to feed their family they are going to do what

pays the most. And right now that’s slashing and burning the forest, for cattle and

agriculture so they can sell meat on the market. Having cattle is very resource intensive.

You have to create a lot of grass, you have to cut down the forest, burn it all down which

creates fertilizer for the grass and then the cattle can graze.

Beyond just our industry there are issues like that and construction. That is another

part of it. CITES (Convention on International Trade in Endangered Species of Wild

Fauna and Flora)is trying to regulate the use of Rosewood from the top down. They are

well intentioned. What happens when those things come into effect are global initiatives,

that are important to speak of.

The last thing: the more economically valuable the tree is to the economy of the

people of Belize and Guatemala, the more likely we are to have a supply in the future

Gordon: Thank you Omar. After each of the panel presents their answers and thoughts,

then of course we will open it up to questions and discussions from the audience

We will just go right down the line: Doug would you like to go next?

Doug DeMorrow (DeMorrow Instruments):

Thanks for coming this morning, It is a very important topic as far as maintaining the

marimba into the future. As Omar stated, there are lots of factors that control what we

do that are way beyond us, such as government intervention, and rules and regulations on

how things are supposed to work.

How they are now trying to control it really effects our supply of Rosewood. For

example, yesterday a gentleman came up to me and said he had put in to order multiple

rosewood keyboards for his district and was told his request was turned down because

the person in charge of the money said: no, you are going to have to get synthetic

keyboards because we're trying to be good stewards of Rosewood, which means he was

not going to be allowed to buy the rosewood because it is a controlled species of wood.

Rosewood is the only wood that does what it does in the entire world. There are other

woods that kind of come close, like Paduk, but it is not as good as Rosewood. My

feeling is that because Honduran Rosewood is a single purpose wood, is so limited in

where its grown, it’s actually fulfilling its true purpose when we create musical

instruments out it. Nothing else is like it. We can build furniture from any kind of wood.

You can do this yet if you take the Rosewood away from the marimba you change the

marimba as we know it. The marimba will likely change over time. It’s very possible

that the availability of the wood will get to a point where it’s not commercially

sustainable to use for making marimbas. I know, from my experience, in finding the

wood from other sources that the cost of the wood has dramatically gone up but it hasn't

really been reflected in our industry yet as far as the cost of the instruments.

You have to get an import permit, as the use of how much of the wood is being closely

controlled by CITES. It could become like Brazilian Rosewood which is shut down.

Those kinds of things are things completely out of our control and we don’t know how

we are going to deal with it when that happens.

Mark Ford (Bergerault/North Texas University):

Thank you Gordon and thank you to all my esteemed guests on the panel. It is an

honor to be with you all.

I have a passive voice right now. Through my research, as Doug alluded to, I have

learned that CITES is an organization which overseas the type of use of products and

organic products that are endangered. It was in their 2016 conference when they

identified Dalbergia Icanus wood as endangered, which includes Honduras Rosewood

and many other kinds of Rosewood. Starting in Jan 2017 there was a worldwide ban on

this Rosewood to protect it. In order for any company (and of course Doug and Ron

could talk to a greater extent about this) to import they must have their approval or it

can’t come into the country. It will sit in storage areas if it doesn’t have the correct

paperwork. And it doesn’t of course always guarantee that the wood that they are

receiving is the quality of wood that they want to have to be used for making the


I spoke with Bergerault. They are based in France. Most of their Rosewood, if not

all of it, is coming through Guatemala. They know that it is more and more difficult to

move the wood over the seas. It takes a lot of planning and also just an opportunity for

the people on both ends (export and import) to approve that purchase.

I think if you are going to change the world, the only way that we can do this is to

come together. I was looking for an opportunity to find an organization with furniture

makers of the world. China is a huge importer of Rosewood. They have an amazing

addiction to Rosewood furniture. Without addressing this issue, really this conference or

these discussions might go no where. But the idea here is that we would try to develop

some kind of organization. I was looking for one in the USA that was trying to answer the

question and to deal with too much use of Rosewood for furniture. And when we need it

for the instruments. We need it for the guitars, and we need it for other artistic purposes.

I couldn’t find such an organization. If we are going to make a real difference in the

world, we have to be able to find a way to coordinate and to cooperate with organizations

that reach these other areas of use of Rosewood. Also needed is more research and

development of materials that sound like Rosewood but are not rosewood. Currently in

my opinion and as most of you know, the synthetic bars that are currently in use are ok

but they really don’t sound like we want them to sound. They may be OK when used OK

for certain educational purposes but not suitable for artistic purposes yet,. I am hopeful

that in the near future that will change and I think you are going to hear some news about

that. I look forward to hearing about such ventures soon.

Ron Samuels (Marimba One):

Thanks Gordon. I first realized that rosewood was becoming more and more difficult

to find about 10 years ago. At that time I started traveling down to Central America.

Rosewood grows in both Belize and Guatemala on the east and west side of the Maya


I eventually struck up a relationship with a Mayan family in Belize. There are Mayan

villages in and around Belize and they are mostly living very basic lives. The way they

were milling Rosewood at that time was they would take logs and literally put them on a

table saw and they would push them through. They were constantly burning up the table

saw motors.

I shipped them a mobile dimension band saw mill along with over 100 band saw

blades and a blade sharpening set up. I traded them rosewood for the band saw mill.

The reason I sent them the sharpening system was because they used to have to travel a

whole day just to get a blade sharpened.

The family that I sent the mill to eventually ended up employing a lot of people in

their village to cut the Rosewood. I went down there many times to set up the mill and

to show them how we liked the wood to be milled.

The idea behind this was I wanted the Rosewood trees to be cut in such a way as to

maximize the highest quality marimba bars from the trees. When the trees were done

being cut into marimba bars, myself and a few other people would go to Belize and

inspect each and every piece of Rosewood. We would be several days on our knees with

chickens and pigs running around, looking at future marimba bars, making sure they

were all good.

There is definitely slash and burn happening, like Omar was saying, but also there is

a lot of poaching because the Rosewood trees are so valuable. And what has happened,

at least in this one village, they are less incentivized to poach the wood because now

they are employed cutting the wood—making a value added product.

Also in Belize, what’s happened in the past 2 years is they are now cutting Rosewood

on a rotational tract basis. They have some large areas of land that they haven’t cut in a

long time and they broke this particular area up into 30 individual pieces. In the first

year, they cut all the Rosewood trees that were 12” and bigger in diameter on the first

tract of land. And the next year they cut all the rosewood 12” and bigger on the 2nd tract.

Eventually, after 30 years, they will come back to the first track of land and those

Rosewood trees that were left will be cut, but only the ones that are 12” and larger in

diameter. This is their idea of sustaining Rosewood—and it works so long as the wood

is not poached. It’s important that Rosewood is valuable to the communities where it

grows so that the local people are motivated to make value added products out of it.

We also get wood from Guatemala. I really like going down to Central America to

source the Rosewood. In Guatemala the way it works is they have Rosewood nurseries

set up, there’s people out in the forest that find the Rosewood seed pods. Rosewood is in

the legume family. They take the seed pods, crack them open and plant the seeds. I’ve

been to nurseries with thousands of Rosewood trees growing. It is great that all of these

things are happing, but still Rosewood is totally stressed out.

I guess there is one other thing I’d like to say: I believe as instrument makers, we are

all getting our wood from these same regions whether it be Belize or Guatemala It is

super important for manufacturers to tune each piece of wood as well possible.

Rosewood demands this of us, out of respect for this most amazing of woods. It is like

the idea if you are planning to cook a great meal, you could get the best ingredients, but

if you burn the food, even though you used great ingredients, the results are still


The exact same thing applies to Rosewood. You can take a great piece of rosewood

and not tune it correctly, and it will not be musical. Making marimbas that have bars

that are tuned well so that they do not break is its own act of conservation.

Hans Swinkles (Adams):

Thank you Gordon for having me here. And for all the speakers that have spoken

before, I think that a lot of things are are similar to my experiences. I’ve been coming to

Belize for the past 20 years and we have an old saw mill there as well. I was also

interested in the politics because this whole Rosewood thing has to deal with politics.

You have the Maya and you have the regular government. The Mayas is a very strong

culture in Belize and they own a big part of the country and in that part there is a lot of

Rosewood. The government says at one moment the land belongs to us and the Maya

said no it belongs to us. It went to court and the Maya won. And that was a big fight

between the two that the Mayas had Rosewood which the government called illegal

Rosewood. And so there is Rosewood because people have to survive, it is a poor

country they have to eat to feed their children they have to feed their family and they

cannot, so they have to cut the trees to make fields for coffee and cocoa. It is important

what’s happening to these trees: do they put them on a big stack and burn them or are

they going to select it and are we going to use this for that and that for this? When we

started in the beginning it was always told to me we could not import Rosewood as a tree

or a log or as a block of wood, it has to be a finished product. So that was rule number

one. We have a sawmill there that precuts our pieces so we can use for marimba bars.

But then unfortunately there was a big Chinese market was opened and they sold big logs

of trees unprepared undone full container full loads to China and that was to me the

beginning of the problem. Then the government found out from where are all these trees

going and coming from and then they stopped all this export for Rosewood.

I think again that was the beginning of the problem. We are sitting here because it’s

not in my opinion that there is not enough rosewoods it’s only a fight about who owns the

Rosewood and who is going to make the money from it in Belize.

I also think that everything has settled down now. The fight with the government and

the Maya is probably still not ultimately fixed. But as long as you have legal Rosewood,

as Ron said, it will be ok. Do it good, make it well because the wood deserves good

treatment. Using this wood in a good way is very important.

Now I’m going to mention one thing: I have seen some manufactures using our dear

Rosewood in ways that don’t necessarily respect the wood. You see a very nice piece of

wood that is completely destroyed by someone who calls themselves a manufacturer.

And for the rest that is basically what my experience is. There’s lot of Rosewood it’s a

wild tree that’s growing in the forest everywhere and they need the large pieces of land

for coffee and cocoa so they are cutting the trees anyways. Only is it very good with the

whole CITES thing , they take care of how Rosewood is exported and imported to the

rest of the world. We have to make a re-export document and a receiver in the country .

So all the instruments that are around they need to have a permit that the wood is really

well imported and exported. We were all worried about when CITES came but at the end

honestly I am really happy because then the wood is totally under control

Gordon: I would now like to introduce John Glowka, of Mode Marimba.

I thought it was really important to include him in this panel discussion because he has a

very different take on these issues and ideas.

John Glowka (Mode Marimba):

I talk really loud and I get really excited so I thought I would stand back from the

microphone. If you can’t hear me in the back just raise your hand.

I’m the only person here who doesn't really know anything about Rosewood other

than when we started to work this idea is that the instruments were too expensive. Just

too expensive. For what ever reason. I don’t know. I live with some Wal-Mart shoppers

- my family - we have maybe a nice car and some nice furniture. Generally a working

class family doesn’t have however much it costs to get this Rosewood. I m hearing if we

doubled the price of this Rosewood we could help these farmers out. We could carve

ourselves out a niche but this seems counter to more marimba. More marimba for you,

more marimba for students, more marimba for colleges. More marimba in music. So we

never even considered using Rosewood. We said this is the sound they want; we had a

theory on sound and what is the closest we can get to that sound at an affordable price.

We set out to find an alternative something that would be good at an affordable price. It

still is not affordable. It’s not a $300 guitar and then you can start classical guitar

lessons. The instrument was just so beautiful to me, and I thought it was amazing. It's

like the pied piper, when people see what you’re doing they are fascinated, like wow

where do you plug it in. The kids were waiting in line to practice this one rosewood

instrument. It was out of tune. The resonators were out of tune. But it was this total

impression that still sounded good. It wasn’t awful: your kid is learning a piece of music.

Doing something and you think wow that’s an amazing thing if we actually had a whole

instrument and could do other things with it, then people would join in and that’s what

happened since we started. People are yearning for this need we have to have a lower

cost alternative.

One of the questions you asked was about paradigms. I came in with a completely

different perspective. Five years ago I didn’t even know what a marimba was and I’m

almost 50 years old. I tell people I build marimbas and they are like what “you’re the

weird kid that plays the xylophone. ” They don’t understand the music, they don’t

understand the sound, they don’t even recognize it as a keyboard. It is right there in front

of them, and as soon as you explain it and tell them whats going on the lightbulb goes

off. So I’m giving my own personal experience. My son who was an exceptionally

bright kid was bored out of his mind waiting to hit the gong in percussion, you’re in the

band you’re waiting, waiting. You need something to do. That’s why your drummers or

you want to play an instrument.

So that’s how we got involved. I have been saying there has to be something that’s

acceptable. The students look to their sensei (I call him). It feels good what I'm doing.

Even though Rosewood is what you really want, this is a great place for you to start now

and maybe even a great place for you to create something. Because it’s not exactly, you

have to hear it for what it is and what it sounds like and does the music sound good and

does it make me feel good when I play it. And this is what I see as the shift in paradigms

for alternatives Not just my alternative, there are dozens of alternatives out there. Half of

the percussion departments I go around to are banging on drum brake pads trying to make

noises , something creative with an instrument. And for us at Mode it was about finding

a less expensive alternative that people could find acceptable and find some creative

expression. So we never even considered Rosewood. It was too much time, too much

hassle, and too much money.

I have an uncle who is a salmon fisherman and he feels about his right to catch salmon

no matter how the season goes because he was there first. And when they change the

rules and you start effecting their living it becomes a very personal matter. So whether its

salmon, whether is ivory, whether its Rosewood, the world wants this wood. Its hard to

tell the person in China that this highest aspiration to have a highly valued wood to have

a chair to sit in. We say that’s not a viable use. It is very hard to tell the world that we

are the only people who can do this. It seems to me it’s changing, the world is changing

and this will always be here in some form but it may not always be the way forward.

Fernando Meza (University of Minnesota):

I come from a different perspective as a college professor and professional performer.

Being from Costa Rica originally I have a particular soft spot in my heart for this issue. I

grew up in a country that is absolutely a beautiful tropical paradise where wood is

plentiful. Honduras Rosewood itself is not grown in Costa Rica but we grow woods that

are similar and a few years ago I wanted to actually do something about it. I knew about

this problem from a long time ago and it struck me that if I wanted to do something I

have to do it in my tiny little corner. I decided that I was going to make a step forward

somehow. I met this young man and his father in Costa Rica who at the time were

building traditional folk marimbas like the marimbas of Guatemala and Chiapas. The

instrument is actually the national instrument of Costa Rica by legislative decree and the

woods that are used for making the traditional instruments have never been tapped for the

commercial market or concert instruments and I was curious as to what could happen if I

started to experiment trying to find an alternative. Certainly not a substitute, as it has

been established there is no substitute for Rosewood. But I wanted to see what I could do

and we started experimenting with a number of things. Turns out the marimbas they were

using for the traditional folk instruments did not really work for a concert setting, the

wood was too soft, this, that and the other. The point was that I was trying to find an

alternative. Some kind of alternative that was not rosewood because Rosewood, but not

paduk. Padua doesn’t have the quality we want. I wanted to see if there was anything

that could be in the middle. Maybe there was something in the middle. Maybe three

quarters of the way up closer to Rosewood After a lot of trial and error we did find some

woods that work, that are a very positive alternative.

Two years ago Oscar Biolley had a booth at PASIC, and brought one of his

instrument. You may recall that there was a very warm reception from our percussion

community to the instrument.

I think it is also incumbent on us individually to try and address the issue. We have

here a very esteemed panel of phenomenal marimba craftsman. And those of us in the

implementation side of what they make have a responsibility to see what we can do and

what steps we can take forward. We all love Rosewood. I’m in love with that wood. But

needs to be a sustainability to the production. The trees grow very slowly. I t takes

seventy-five to a hundred years for a tree to really mature. We have to figure out what we

can do.

There is an issue on the performance side. Those of you that are in the marching

arena: the use of Rosewood to me is a bit oxymoronic. It just doesn’t make sense to

have this precious wood in the field. And I don’t know if that hurts peoples feeling in the

marching arena. It’s difficult to justify that at least in my mind particularly when the

wood has become so scarce. I think its just incumbent individually for all of us to find a

way to make a step forward. For me it was to find a wood that would help. And the

woods in Costa Rica seem to do the trick.

She-e Wu (Northwestern University/Majestic):

I’m an educator. I’m also a player. So I’m going to speak a little bit from that

perspective. But what Mark Ford was saying about the CITES (Convention International

Trade Endangered Species) is like a little hope. Because so much of it has been bad news

so far. So there’s a little hope. Last month in Russia there was a committee formed

because there are furniture makers and then there are musicians. It doesn’t help us that

there are tons and tons of African Rosewood in Nigeria is being sold to China and

Vietnam and we are lumped into that. And we are not doing even close to that. So that

committee is advocating for musicians and instrument companies and the proposal is

made that perhaps musical instrument companies could be exempt from all these

regulations and if its adopted it would be May of next year. Not sure if that that will

happen or not. We will keep our fingers crossed.

Having said that, one of the questions Gordon put before us is “What will your

company do about the dwindling supply of Honduran Rosewood” and I guess I’ll speak

about that for Majestic. We will have to continue the research for alternatives, high

quality alternative material which means that It could be synthetic and we have to

continue to explore for other woods like Fernando Meza has done. We need to further

pursue research for alternative wood different species. I don’t actually believe there is

only Rosewood ever. Earth is beautiful and I’m not saying we should go start finding

trees and cutting them. But I do think there are other species that might work. It will

cost a lot of money in Research and Development. Which company is going to do that

and spend a $100,0000 to do serious research and find our wood? Who is going to do

this, and are we going to split that cost? We probably should add extended synthetic

instruments in between synthetic and Rosewood bars.

And for me, I am willing now speaking from an educator standpoint, I would love to

start a movement that I said a few years ago, that we practice with synthetic instruments

or bars and transition into Rosewood or some other wood for performance. I inherited a

really great program at Northwestern University, but when I got there, there were maybe

six or seven 5 octave marimbas and guess what? Half of the keyboards had broken

bars. You know what I’m talking about. It’s not just the $300 that your school or your

teacher has to pay for a new bar. That might not be possible. So the awareness that we

have to all have is as educators about this instrument and the wood it is made from.

Fernando also talked about DCI and marching bands. I do think that some directors are

really mindful and are aware of the situation with Rosewood and that discussion certainly

needs to happen. And perhaps we can practice with synthetic material and to change for

the sound quality we look for as performers. I would love to start a movement and have

many of you join me.

Matt Coe (Coe Instruments) Matt was not able to attend, but sent the following

comments to Gordon to read, as follows:

The main issue will be continuing to obtain quality Rosewood easily and at a price

that will allow for a finished product that is still within an affordable range for the

average customer. And the second issue could be out of our control. We’ve heard people

talk about CITES and stuff like that. If its put on Appendix I that essentially stops

instruments being made into the future. That’s out of our control (as some of our

esteemed colleagues here have mentioned). I try to use almost all of the wood purchased.

Wood that is not suitable for use in mallet keyboard instruments. That wood is used for

wood blocks and cutting boards, and. coasters. (Gordon: there is going to be an episode

on CBS news Sunday morning about these issues that Matt was involved with). It is

important to make sure people are really aware of this issue and talk about proper playing

technique and proper care of the instruments to maintain the quality of Rosewood


I think composers have something to do with this. If composers write in a certain way

that requires you to “ play the instrument” in a certain way that can be a problem.

Gordon Stout, for Gordon Peters (retired principal percussionist of the Chicago


Gordon Peters wrote a letter that’s been circulating around to a few people about this

issue. He saw there was an advertisement for this session in Percussive Notes, and took a

sincere interest. Gordon Peters is an important guy to the marimba in this country. When

I started marimba back in the 1960’s, the Etudes by Clair Omar Musser were not

published and unavailable. My father finally got a copy of all them from Gordon Peters,

so he was really an important guy to me. I knew the music from Vida Chenoweths CD,

but I didn’t have the sheet music. He really opened my eyes to a world that I knew was

there, but previously had no access to. He was a member of Marimba Masters marimba

ensemble at Eastman. John Beck, here in the audience today, was also a member of that

group. They played on the Ed Sullivan show and Peters was associated with Clair

Musser and many people of that era for many years. He still is active.

The letter he wrote is not possible to read here due to its length. He made the point that

the five octave marimba is why we are experiencing this Rosewood shortage. When

Clair Musser and marimbists of that generation were around we only had four octave

instruments. Comment by Gordon Stout: I learned to play on a three and a half octave

marimba, and remember when the first 4 1/3 arrived at Eastman - a really big deal! We

were all totally amazed by those extra 3 notes on the bottom of the marimba, and

thought this was just the end of the world. It was so amazing. With the advent of the

five octave marimba there is now less Rosewood. With bigger bars, more wood is used.

Also, with 5 octave marimbas to get the low notes to project they have to use heavier

sticks with yarn which that also contributes to the problem (In Gordon Peters

generation, as when I started to play as well, marimbists normally played with rubber

sticks). He is also interested in any other woods that might be used for making marimbas.

He also advocates building an amplification system into the marimba, and is also

concerned about the preservation of older instruments.

There were a few minutes of comments from the audience at this point, which I do not

have a transcript of. Thanks to John Glowka of Mode Marimba for finding a recording

of this panel discussion, and doing the initial transcription. I have done a small amount

of editing, trying to preserve the speaking style of each inividual panel member, but

making the syntax a little better - I am not an expert here by any means!).

Conclusions (my own):

-There is a global aspect to the problem of the shortage of Honduras Rosewood. As

performers and educators in this country, we are a very small part of the socio-political

situation that brings this issue before us. Rosewood is part of a local ecosystem in

Guatemala and Belize, where it is part of their economy and society in a very small part

of the world. “The more economically valuable the tree is to the economy of the people

of Belize and Guatemala, the more likely we are to have a supply in the

future” (Carmenates)

-Rosewood is the only wood that produces the sound that has become the standard for

marimbas world wide. There is no other wood that duplicates its sonic qualities. Using it

to produce marimbas is a way of fulfilling its true purpose. Any wood can be used to

make furniture. Only Rosewood produces marimbas with the sound we have grown to


-If we are going to make a real difference in the world, we have to be able to find a way

to coordinate and to cooperate with organizations that reach these other areas of use