Thinking about a bespoke ukulele

Steve in Kent

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I have currently got a KoAloha KTM-00 but have got itchy fingers for a bespoke one.

So far the specification I am thinking about is...

Macassar ebony back and sides
Cedar top, (but open to spruce)
Slotted headstock, (but open to paddle with planetary geared tuners)
Ebony fretboard and bridge, (open to either tie or pin)
Fretboard bound with maple
Ebony faceplate on the headstock
Maple binding
Pickup, (totally open here, suggestions would be most welcome)

(And I know this is almost a copy of the Pono ETSH5, but they are few and far between, especially in the UK).

So, any comments would be most welcome as this is going to be a once in a lifetime thing.

Steve
 
I think it's a great idea. If had a custom ukulele made, it would be a Koaloha. Honestly, I have never played a Koaloha that I would rate less than 10. Even the new batch of Opios are wonderful with the spruce top being a standout, imo.

I have a Sceptre, which due to it's shape, should sound like a $50 "flying V" or the Alien Head uke I bought. But it projects further and sounds every bit or more beautiful than any other K brand I've played. Which is really amazing.

If you're looking to order a special ukulele, I think the guys at Koaloha can definitely build what you're hoping for. :)

(PS, I don't have any ties to this company)
 
Getting a custom built ukulele made to your specifications is a wonderful endeavour that everyone sholud do if they can. I have 4 ukueles in my herd that I have "bespoke", lovely term, and each one means a lot to me. I own other customs I bought used and they ar excellent but the bespokes hold a special place in my heart

First and most important is to pick your builder, do your home work and research the ones you have heard about, you may discover news ones. A few tips to help you along the way. Have a clear idea of what you want and why. The WHY should always be sound retaled first, playability second and looks third. As you say the one you are detailing is an exact copy of a Pono model (I have owned that same model and it sounds wonderful). Are you basing your choice on the Pono sound samples from HMS? Builders have a signature sound, play an all koa tenor Kamaka, Kanilea and Koaloha, each sounds different.

If you have a sound in mind, warm, loud with much sustain and resonance then communicate that to the builder and ask his opinion about what woods to use. He is the expert and knows what is can get out of each type of wood. My best advice is to ask questions to the builder and really listen to his answers, give him room to work his magic. My first custom was a LfdM tenor and I said to Luis I want something guitar like in sound, full open and resonant, something good for country, rock and pop music. He said sitka spruce over rosewood, I said ok. It is my best sounding tenor among a number of high end customs.

Good luck and have fun
 
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Thinking about a bespoke ukulele?

Thank You for increasing my vocabulary. I had to immediately Google the word bespoke. Great term.
 
I think it's a great idea. If had a custom ukulele made, it would be a Koaloha. Honestly, I have never played a Koaloha that I would rate less than 10. Even the new batch of Opios are wonderful with the spruce top being a standout, imo.

I have a Sceptre, which due to it's shape, should sound like a $50 "flying V" or the Alien Head uke I bought. But it projects further and sounds every bit or more beautiful than any other K brand I've played. Which is really amazing.

If you're looking to order a special ukulele, I think the guys at Koaloha can definitely build what you're hoping for. :)

(PS, I don't have any ties to this company)

I'd like to ask KoAloha, but I'm in the UK and shipping and customs adds a lot of cost.
 
Getting a custom built ukulele made to your specifications is a wonderful endeavour that everyone sholud do if they can. I have 4 ukueles in my herd that I have "bespoke", lovely term, and each one means a lot to me. I own other customs I bought used and they ar excellent but the bespokes hold a special place in my heart

First and most important is to pick your builder, do your home work and research the ones you have heard about, you may discover news ones. A few tips to help you along the way. Have a clear idea of what you want and why. The WHY should always be sound retaled first, playability second and looks third. As you say the one you are detailing is an exact copy of a Pono model (I have owned that same model and it sounds wonderful). Are you basing your choice on the Pono sound samples from HMS? Builders have a signature sound, play an all koa tenor Kamaka, Kanilea and Koaloha, each sounds different.

If you have a sound in mind, warm, loud with much sustain and resonance then communicate that to the builder and ask his opinion about what woods to use. He is the expert and knows what is can get out of each type of wood. My best advice is to ask questions to the builder and really listen to his answers, give him room to work his magic. My first custom was a LfdM tenor and I said to Luis I want something guitar like in sound, full open and resonant, something good for country, rock and pop music. He said sitka spruce over rosewood, I said ok. It is my best sounding tenor among a number of high end customs.

Good luck and have fun

Thank you for your reply, I have already researched a luthier, and am talking to him about woods etc. But your suggestion about telling him what sound I want is great.

Steve
 
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The first question to answer is what goals are most important to you - tone, playability, aesthetics, etc. I know you say this is a "once in a lifetime" thing so your temptation is to say, "well, this has to be perfect in every way". But the truth is that every instrument is a conglomeration of compromises and no one instrument can be "all things to all people" - or even all things to one person. So that's my commment - start with the goals, communicate those to your luthier (or even as you are "interviewing" among luthiers, i.e. how might they fulfill your particular goals), and then try not to sweat the small stuff.
 
Being involved in the creation of a musical instrument, even in a small way, is a wonderful experience. May you have as good an experience as I have had with the Luthiers that I have worked with.
 
Just to offer a different viewpoint, I'll tell you what I did. My priorities were completely at variance with the advice you received above. My first and only priority was aesthetics. Luthiers are anal-retentive freaks due to their chosen calling. Nothing is leaving their shoppe that isn't properly intoned. They have that end of the project under control. So you need to take care of your end of the project by knowing how you want it to look. In this regard, I drew up a list of everything I wanted in a ukulele and approached my luthier. Then a period of negotiation ensued wherein we hammered out the details. The luthier will tell you what options are cost prohibitive, what options are not feasible in terms of woodcrafting, and what options are acceptable.

I found it useful to have not only specifics in mind, but also broader ideas. If you approach a luthier with broader, vaguer ideas, they can offer input. For example, I told the luthier that my ukulele was intended as a linear-tuned instrument. With that info, the luthier could offer ideas on tone woods.
 
So what you are saying is that you are ordering a custom ukulele from a specific luthier? Then it would probably be wise to have his input as to your wood choices etc. Does he even have the woods you specified, or else, is he able to get them in sufficient quality and properly dried? And is he experienced in working with these woods? I would think that a hard and dense wood such as Macassar Ebony needs a lot of consideration.

Also, since it seems important to you to not having to import an instrument from overseas: why not use regional woods instead of importing exotics? Some of the best instruments in the world are made with European Spruce, and I'm sure there are other domestic tonewoods that make for a fine alternative.

This being said, I think the combination of Macassar Ebony and Western Red Cedar makes for a fantastic instrument. I own a Pono ETSHC (without the Abalone purfling, but with a cutaway), and it is one of my all-time favorite instruments that stands on its own next to some very fine custom ukuleles.
 
Just to offer a different viewpoint, I'll tell you what I did. My priorities were completely at variance with the advice you received above. My first and only priority was aesthetics. Luthiers are anal-retentive freaks due to their chosen calling. Nothing is leaving their shoppe that isn't properly intoned. They have that end of the project under control. So you need to take care of your end of the project by knowing how you want it to look. In this regard, I drew up a list of everything I wanted in a ukulele and approached my luthier. Then a period of negotiation ensued wherein we hammered out the details. The luthier will tell you what options are cost prohibitive, what options are not feasible in terms of woodcrafting, and what options are acceptable.

I found it useful to have not only specifics in mind, but also broader ideas. If you approach a luthier with broader, vaguer ideas, they can offer input. For example, I told the luthier that my ukulele was intended as a linear-tuned instrument. With that info, the luthier could offer ideas on tone woods.

Nice to receive a different slant on the subject...

Thank you,

Steve
 
So what you are saying is that you are ordering a custom ukulele from a specific luthier? Then it would probably be wise to have his input as to your wood choices etc. Does he even have the woods you specified, or else, is he able to get them in sufficient quality and properly dried? And is he experienced in working with these woods? I would think that a hard and dense wood such as Macassar Ebony needs a lot of consideration.

Also, since it seems important to you to not having to import an instrument from overseas: why not use regional woods instead of importing exotics? Some of the best instruments in the world are made with European Spruce, and I'm sure there are other domestic tonewoods that make for a fine alternative.

This being said, I think the combination of Macassar Ebony and Western Red Cedar makes for a fantastic instrument. I own a Pono ETSHC (without the Abalone purfling, but with a cutaway), and it is one of my all-time favorite instruments that stands on its own next to some very fine custom ukuleles.

I know I keep listening to this
 
I have all my custom ukes made by Bruce Wei in Vietnam (I'm in Los Abeles) and I agree that detailing everything is very valuable, but listening to feedback from the builder is quite important. The last one I had made, I asked for all spalted mango, but he suggested it have flame mango for the body, that spalted on the body would not be as stable or have as much resonance. I went with it and I have to say, it came out great, excellent projection and resonance, and looks beautiful.


8 tenor cutaway ukes, 3 acoustic bass ukes, 8 solid body bass ukes, 8 mini electric bass guitars

• Donate to The Ukulele Kids Club, they provide ukuleles to children's hospital music therapy programs. http://www.theukc.org
• Member The CC Strummers: https://www.youtube.com/user/CCStrummers/videos
 
I have currently got a KoAloha KTM-00 but have got itchy fingers for a bespoke one.

Steve

As soon as I saw your title, I knew you were from England. We don't hear "bespoke" much here, but it is rather common on English TV shows. Your specs look interesting. Let us know how this develops.
 
Well, things are moving on.

Talking almost daily, trouble is every time we talk I think the price goes up :)

So far then

Macassar ebony back and sides (Definite)
Cedar top, (but open to spruce) (Still discussing, having trouble getting Port Orford Cedar here)
Slotted headstock, (definite)
Ebony fretboard and bridge, (Definite)
Fretboard bound with maple (Definite)
Ebony faceplate on the headstock (Definite)
Maple binding (Definite)

Added

Additional soundhole in upper bout
Carbon fibre rod in neck for increased strength
Radiused fretboard, 20" radius

Just waiting for the quote to hit me.....

Plus what I think is great is that he sent me the link to his wood supplier so I could choose the Macassar Ebony blank that I like, cool.
 
Well, things are moving on.

Talking almost daily, trouble is every time we talk I think the price goes up :)

So far then

Macassar ebony back and sides (Definite)
Cedar top, (but open to spruce) (Still discussing, having trouble getting Port Orford Cedar here)
Slotted headstock, (definite)
Ebony fretboard and bridge, (Definite)
Fretboard bound with maple (Definite)
Ebony faceplate on the headstock (Definite)
Maple binding (Definite)

Added

Additional soundhole in upper bout
Carbon fibre rod in neck for increased strength
Radiused fretboard, 20" radius

Just waiting for the quote to hit me.....

Plus what I think is great is that he sent me the link to his wood supplier so I could choose the Macassar Ebony blank that I like, cool.

You have made great progress. The top gives the greatest influences on sound as I am sure you already know. Do you like a brighter or warmer tone is what it boils down to, cedar being warmer. I also find spruce has more sustain while cedar's notes decay faster.
 
Yup, sounds just like my Pono ETSH5 PC. I could be convinced to sell so i could get a Koaloha tenor


I have currently got a KoAloha KTM-00 but have got itchy fingers for a bespoke one.

So far the specification I am thinking about is...

Macassar ebony back and sides
Cedar top, (but open to spruce)
Slotted headstock, (but open to paddle with planetary geared tuners)
Ebony fretboard and bridge, (open to either tie or pin)
Fretboard bound with maple
Ebony faceplate on the headstock
Maple binding
Pickup, (totally open here, suggestions would be most welcome)

(And I know this is almost a copy of the Pono ETSH5, but they are few and far between, especially in the UK).

So, any comments would be most welcome as this is going to be a once in a lifetime thing.

Steve
 
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