Lack of Lining Inside the Martin S-0 Soprano Uke

Bill Sheehan

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I have a nice Martin S-0 soprano, made in Mexico, and I often wonder why the folks at Martin opted to make these without any kind of "lining" (kerfed or otherwise) inside the instrument. I've always understood that the purpose of lining is to provide a good solid surface upon which to glue the top and the back to the sides. But on this uke, it looks like they simply pieced the top, back, and sides together as accurately as possible and called it a day. Doesn't that seem like an invitation for "separations" to start developing (though I don't see any yet)?
 
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KoAlohas also lack kerfing, and they're guaranteed for life, so it must be a viable method of construction.
 
Martin did make an SO with kerfed linings , It was called the HSO , very rare , less than 200 built.
 
Thank you, friends, for the observations, and in particular for the reference to the previous thread on this very question (sorry!!!), which I will look forward to examining in just a bit! Just from glancing at it briefly, it seems there may be a number of different perspectives on the question! Everyone have a good Thursday!
 
I have a nice Martin S-0 soprano, made in Mexico, and I often wonder why the folks at Martin opted to make these without any kind of "lining" (kerfed or otherwise) inside the instrument. I've always understood that the purpose of lining is to provide a good solid surface upon which to glue the top and the back to the sides. But on this uke, it looks like they simply pieced the top, back, and sides together as accurately as possible and called it a day. Doesn't that seem like an invitation for "separations" to start developing (though I don't see any yet)?
I think that I know what you mean, but I'm not sure. I have a new Ohana laminate with a solid spruce top that may be something like you are talking about, although not exactly as you describe. There is a lining, but it is not kurfed. It is just a thin strip. At first when I looked at it I wasn't sure what to think, but I decided that I would just play it and not worry about it. I just assume that they know what they are doing. I mean, whatever happens, if anything, I will just deal with it then. So I have been just playing it. Seems strong enough. I don't coddle it, and it is holding up as well as my others that are a bit more beefier build.
 
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Vintage Gretch ukuleles used that technique. I have one with no sign of separation. That being said, when I build I use solid bass wood or mahogany kerfing that is bent by heat to match inside curve. Figure it adds strength.
 
Thanks guys, I appreciate those additional thoughts. Yes, I too have had ukes with the "smooth" lining (non-kerfed), and that approach seems fine; but my Martin S-0 doesn't have either kind... it has none at all... and yet it seems to hold up just fine. I guess the craftsmen must have been confident that they were connecting top, back, and sides together with good precision and strength, and that a lining of either style wasn't essential.
 
I really like the Martin SO , I have two. Both bought used , one I've had over 10 years and I've had no problems. Both have sat out all winter on my coffee table with no problems.
 
Thanks, Pete. I like my S-0 a lot too, though I tend to see not-so-great things about them in my reading. I like the way the fretboard terminates farther away from the soundhole (whereas the S-1 fretboard, for instance, runs right up to the soundhole). I use the Martin M-600 strings on my S-0, tuned up a half step higher than "standard", as it seems to "bark" a little better that way.
 
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