New to Ukulele building

That is an example of some impressive workmanship alright. Perhaps you could tell us something more about it. For instance, what kinds of wood you used, what is going on with that upper transverse back brace, what kind of bracing scheme did you use and so on. One observation: the soundhole rosette looks a little too big to my eye and makes the instrument look more like a small guitar than an ukulele, but that is merely a quibble. it is a beautiful thing whatever it is. Question: Are ukuleles just small guitars? The answer is yes, no and maybe. Or even all three. A question of endless debate here in the Luthier's Lounge.

By the way, I am not a "pro" in that I do not make my living building ukuleles, but I do make ukuleles and make some money selling them. I also do not consider myself a "luthier" but a "builder". Maybe someday I could think of myself as a luthier, but there is still too much I have to learn. Anyway, nice work and thanks for sharing.
 
That is an example of some impressive workmanship alright. Perhaps you could tell us something more about it. For instance, what kinds of wood you used, what is going on with that upper transverse back brace, what kind of bracing scheme did you use and so on. One observation: the soundhole rosette looks a little too big to my eye and makes the instrument look more like a small guitar than an ukulele, but that is merely a quibble. it is a beautiful thing whatever it is. Question: Are ukuleles just small guitars? The answer is yes, no and maybe. Or even all three. A question of endless debate here in the Luthier's Lounge.

By the way, I am not a "pro" in that I do not make my living building ukuleles, but I do make ukuleles and make some money selling them. I also do not consider myself a "luthier" but a "builder". Maybe someday I could think of myself as a luthier, but there is still too much I have to learn. Anyway, nice work and thanks for sharing.

Thank you! I appreciate all the feedback. To date I've built over 50 acoustic guitars and a few electrics before that, currently working on my 3rd ukulele. None completed. Hopefully the finish will get done soon. I am implementing some proprietary designs and building concepts as well as my own design. It might resemble a guitar but I am fond of a rounder lower bout with a tighter waist and more pronounced curves. It makes it harder to bend and bind so I can see why many stick with traditional designs but I mean to push the envelope...

The soundhole is slightly larger at 2". But then again so is the scale length and a few other things! regarding the braces..

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It's always interesting to see how others are building. I read posts on this forum and some guitar sites so I am aware that there are huge variations in the way people set about building. On this forum we are forever discussing the benefits of different bracing designs, the use of different types of lining, materials etc but its often said by some makers here that there's not a lot to be gained by diverging from the simple bridge patch and 3 fans (for a tenor) design. It would seem you don't hold this view!

I therefore wonder whether you would like to share with us the reasons why you have made so many departures from standard design? Specifically what do you think you gain from each element, ie the pierced braces, the 2 different types of lining, the unusual bridge patch ......etc? I'm guessing these are carry overs from your guitar building experience, so what type of guitars do you make?

As a hobby builder who likes to experiment with design, its always interesting to hear what ideas drive other makers to build the way they do.
 
Greenscoe,
personally I believe instrument making is an ever evolving art. Yes, as I previously stated, I am not a traditionalist. I prefer to try no things. My prior experience with guitar building taught me that sound (tone, volume, projection, etc) comes from the ability of the soundboard to vibrate and how it vibrates. We are looking for thin yet stiff and strong and weight is the enemy of all we are trying to achieve. Taller and wider braces are stronger and stiffer but too heavy. Thus the hollow braces which keep them just as rigid and stiff but with significant weight reduction. Same goes for my bridge patch, what you don't see is that it is partially hollow underneath and because of its design it strengthens the lower bout where necessary thus eliminating the need for more braces. Considering string tension on my Uke is not much I think it can benefit from a few tweaks!
What two linings are you seeing?

Here's the style of guitars I build:

rc5.jpg
 
Thanks for your reply. Its a great looking guitar and I see it has a bevel so that's what I am seeing on the uke-the kerfed lining is replaced by a solid section where it is to be bevelled.

It's true that we are all seeking to produce a light but strong soundboard but few builders seem to do what you are doing. Its interesting to hear you say that your large and unusual bridge patch is partially hollowed. It will be interesting to learn what you think of the sound of the finished instrument.

Edit: I have looked at your website. That has answered my questions!
 
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Mike,
the "little fingers" are an extension of the bridge patch to strengthen the lower bout in the absence of braces.Its basically a Tenor size.
 
You confused me when you said your soundhole is 2 inches and you thought that large. 2 inch is pretty small for a tenor, though I see you are using side port as well. When you say a combo of your design and proprietary design, who is the the design property of?
 
You confused me when you said your soundhole is 2 inches and you thought that large. 2 inch is pretty small for a tenor, though I see you are using side port as well. When you say a combo of your design and proprietary design, who is the the design property of?

My bad Michael, Its 2.5" wide. When I said proprietary designs I meant my own...
 
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