Rosewood offers an incredible amount of support. When matched with a high quality Spruce or Cedar top it enhances the characteristics of these materials.
As resonance is supremely important to the vitality of a classical guitar, it is preferable that Rosewood has been dried naturally and treated carefully so it won't become stiff and can open nicely as one plays his instrument.
There's an extraordinary video on the internet of Paul Reed Smith taping on a small log of Brazilian Rosewood. You can hear how the wood reacts to his touch and vibrates producing a fantastic resonant, open sound. If this is how Rosewood sounds in its "pure state" imagine the transcendence it has as part of a musical instrument!
Both Indian and Brazilian Rosewood are extraordinary and perfect for classical guitars. Brazilian though, has a bit more resonance, it seems like it doesn't want to quiet down. Indian Rosewood is more obedient if you will: it won't sing forever, but it most definitely will bring out the qualities of a good top.
The Washington Convention has really put a stop to Brazilian Rosewood. In Savino Music, other than Robert Desmond's classical guitars, which have both Inidan and Brazilian Rosewood, no other luthier has this wood on their guitars. Indian Rosewood is fantastic, but we do miss Brazilian...
Ziricote, Cocobolo, Macacauba and Bocote, are among the other 'supporting' woods in which the new generation of classical guitars is being built. They all have one thing in common: they seem to adapt very easily to the music of our time. Plus, their aesthetic value is priceless.
As Classical Guitar luthiery progresses in our time, we keep contemplating the instruments created with Brazilian and Indian Rosewood, fascinated by the resonance of the first and the obediance of the second.