Some west Kalimantan (Melawi) on the subitism from @Maunamoku. This one needed higher temps, but that may reflect the particular cut that I made from the sample. Aroma was at first dry with mushroomy nuances - one of the baieiedo rikkoku woods has a bit of this opening, forget which. Then salty dry mineral aspects with a bit of labdanum / fecal funk follows, brings Baieido's chipped indonesian oud box to mind (the small rectangular blue(?) boxe with the bag of granules). This seems like a comparable material.

When I smell that funk i see it as a sign to turn the temp up - this might be a good one to put on a coal that has had time to form a nice thick layer of ash. This is one I would share with a connoisseur but probably not with someone who had never smelled oud on a burner before due to the fecal aspect. I don't see a lot of people mentioning this fecal note when heating oud which makes me wonder if it's something about my own perception. I sent a sample of a different wood i have which i perceive as fecal to someone whose nose i trust and they didn't pick up on anything funky with it.

View attachment 42044
idk, those barnyard funk smells appeal to me! seems to make everything else pop so much louder with that contrast of something wonderfully stinky ;p
 
idk, those barnyard funk smells appeal to me! seems to make everything else pop so much louder with that contrast of something wonderfully stinky ;p
I like some good healthy ferment and funk, but there is a certain note that's kind of like "unwashed human" and cat spit that I cannot get past. One thing I've noticed is it tends to be on the surface of wood and I sometimes wonder if it's residual scent from handling or something picked up during storage.
 
This guy had one heck of a burn of the day.

IMG_1099.jpeg
 
the japanese call it "rat piss" a cetain vietnamese fiend on this forum who sent me some samples has a lot of it in his "kynam" lmao
I like some good healthy ferment and funk, but there is a certain note that's kind of like "unwashed human" and cat spit that I cannot get past. One thing I've noticed is it tends to be on the surface of wood and I sometimes wonder if it's residual scent from handling or something picked up during storage.
 
the japanese call it "rat piss" a cetain vietnamese fiend on this forum who sent me some samples has a lot of it in his "kynam" lmao
I wonder if that's the same thing I'm talking about or some other offensive nuance lol? Rat piss has its own muskiness haha (we had some pet rats for a while there).

Sometimes I wonder if scrubbing the surface of the stank woods with a brush under warm water would tone it down
 
I wonder if that's the same thing I'm talking about or some other offensive nuance lol? Rat piss has its own muskiness haha (we had some pet rats for a while there).

Sometimes I wonder if scrubbing the surface of the stank woods with a brush under warm water would tone it down
it does. i have cleaned many pieces with that aroma butnot all work especially if its not sinking
 
Some koh kong on the subitism. Delicious sweet confectionery and deep resinous notes. The temperature produced by a particular voltage is different for each model of subitism but at 15 V this is running a little hot. This crassna has this delicate woodiness I associate with crassna wood and oils, but also a deeper and more complex resinous quality that is a bit of a surprise.

IMG_1113.jpeg
 
I like some good healthy ferment and funk, but there is a certain note that's kind of like "unwashed human" and cat spit that I cannot get past. One thing I've noticed is it tends to be on the surface of wood and I sometimes wonder if it's residual scent from handling or something picked up during storage.
The condition of the tree prior to harvest can have an impact on the savory salivary notes as well. If the infection is near the surface, or exposed, versus internal heartwood, it is more likely to develop these. The salivary note, I think, extends from the aromatic note of "humid jungle". Often, trees have external wounds that leave some soft wood exposed to the elements, such as a partially torn limb or broken trunk. Sometimes moisture can permeate these wounds and create different aromas, depending on if it is interacting with the infected material or the whitewood. Some instances, like with deadwood harvests, this can have a preferred influence on the aroma, other times the smell of decomposition can affect a living tree. If the wound is near or below the soil, there are even more nuances that can be acquired.
 
The condition of the tree prior to harvest can have an impact on the savory salivary notes as well. If the infection is near the surface, or exposed, versus internal heartwood, it is more likely to develop these. The salivary note, I think, extends from the aromatic note of "humid jungle". Often, trees have external wounds that leave some soft wood exposed to the elements, such as a partially torn limb or broken trunk. Sometimes moisture can permeate these wounds and create different aromas, depending on if it is interacting with the infected material or the whitewood. Some instances, like with deadwood harvests, this can have a preferred influence on the aroma, other times the smell of decomposition can affect a living tree. If the wound is near or below the soil, there are even more nuances that can be acquired.
I have some yamada matsu AA log type pieces I got in 2001 that are the stankiest as far as this goes. Not quite sure how to get the right burn with these.
 
Have you tried heating it on coal? I find that even with the ash mound, the nature of the heat produced by coal is more penetrating that a subitism, and it may work better for earthy profiles. Although maybe more beneficial for fermented/sour notes than savory/salty/salivary.
Thanks for the suggestion, I think that may be the way to go. Thinking back, I definitely feel like my best experiences with this YM wood have been on a coal and not mica. Low temperature just kind of draws out that initial ferment / funk.

I find myself trying to understand what's going on with wood and age and fermentation and time, which has me wanting to sketch out my ideas to see if anyone can correct any misconceptions here:

As I understand there's the initial infection, and the resin response and this produces one level of complexity due to the interplay of the infecting organisms and the biology of the tree. This is the kind of complexity and scent you can get out of plantation wood I imagine.

But then if that thing sits there for multiple decades, there is all kinds of opportunity for further development… some little pockets must get wetter than others and undergo different types of secondary bacterial fermentation and fungal decay (natural very long pre-soaking!?), and the tree as a whole must begin to develop all kinds of additional complex notes and nuances in different parts of the trunk depending on what microbes happen to be present, the unique temperature and moisture conditions in that part of the tree etc.

And of course it's soaking up whatever the atmosphere contributes…

The idea that these old woods kind of collect the history of the forest in their scent is poetic.
 
Last edited:
Back
Top