Cedar/Brazilian Tenor

J

Jason Wolverton

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It's been a little while, but I'm finally building another uke.
This one has a cedar soundboard and Brazilian back and sides. The back is arched/braceless with a carbon fiber core (borrowed from my classical guitar construction technique). The head features a recessed panel which is another thing I've been doing on my guitars.

Should be done soon!

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I used a bridge patch for several years on my guitars, because that's what my teacher did. Now I've come to the conclusion that they aren't helpful.... at least in classical guitars. Used on a uke, where there's even less soundboard area and stored energy in a string, I can't see how a bridge patch could do anything but add weight; thereby decreasing responsiveness. We want to get that soundboard moving!
 
Jason Wolverton said:
I can't see how a bridge patch could do anything but add weight; thereby decreasing responsiveness. We want to get that soundboard moving!
Click to expand...

I think about this question a lot and I follow your thinking about getting that soundboard moving, but what about bridge rotation over time? Without a foundation like a bridge patch that bridge is going to rotate on your soundboard due to the pressure of the strings. Thus your calculated scale length and added compensation is going to change over the years and eventually the uke is going to change and the scale length is going to shorten. Unless! You reinforce that area underneath with braces... I still have not figured this part out. Until such time as I do, I will continue to use bridge patches.
 
My belief is that a bar under the bridge will do a lot more to halt soundboard deflection than a pad will. Anyhow, there's more than one way to skin a cat as they say... :)
 
Brazilian rosewood? I've never seen a piece with such contrast in the sap wood before. Looks like beautiful stuff.

Question on the braceless back; Is it a sandwich of wood/carbon fiber sheet/wood? How thick is the carbon fiber?

Also, your rosette is really stunning. What material is the field for the half dots made of? End grain black palm?
 
Yessir, the center is Black Palm. Thanks for your compliments.

Correct on the sandwich. I make the two outer skins about 1.2 mm. The carbon fiber cloth is pretty thin, and gets compressed a little when I put in in the vacuum. The final thickness is about 2.75 mm. I do this frequently on a larger bodied classical guitar design that I make. First time trying it out on a ukulele.... Just to amuse myself and see what happens.
 
Hi Pahu,

I'm not convinced bridge pads do much to prevent caving. I think it's better to use a bar under the bridge if you're going thin with the soundboard, and use strong enough braces too.
This particular soundboard is thick enough and stiff enough not to warrant a bridge pad.
Yes, my work board (for this style of uke) has a radius in the lower bout. I starts from where the bridge is placed.

Another photo of the top...IMG_7816.jpg
 
Nice clean work. I love doing rosettes but have never done anything that involved. Lovely... I forget what size this ukulele is, but on my tenors I'm still going to put in a bridge patch. It just makes sense. If it is a soprano, then I could see leaving out the patch. Maybe.
 
A few more photos. French polishing...still tedious even on a uke. haha Love this flamed mahogany neck though.
Because cedar is soft and FP is delicate, I thought a pick guard would be good. I'm using figured walnut that matches the head panel, butt join, and armrest.
I like to use TruOil on pick guards and armrests because it's SO easy to touch up.
a.jpg
b.jpg
c.jpg
 
That is one nice looking uke... Interesting way of gluing down the bringe. You must have some sort of gantry thing? Mind showing pictures? I'm intrigued. More than one way to skin a cat or glue on a bridge if you know what I mean.
 
Sequoia,

It's just in a standard go-bar deck with one clamp in the middle. My go-bars are a little different is all...
 
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