More Style O Soprano's

Three more of the Fireplace ukes coming to life..After these there are only three more and then I've run out of that kind of Mahogany.



Heres a close up of the Timbuck bridge clamp in action. (As far as I know there are only 2 of these type clamps in existance)

And I have the other one! Thanks Ken - it is in the 'treasured tools' pile...:shaka:

Why is that soprano calling (in a sweet little voice) buuuuy meeee....striiiing meeee...plaaaaay meeee! ?!?!?!?
Seriously, I love that one with the tuners installed!!!

Ukeffect said:

Why is that soprano calling (in a sweet little voice) buuuuy meeee....striiiing meeee...plaaaaay meeee! ?!?!?!?
Seriously, I love that one with the tuners installed!!!

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You Shouldn't be looking at Ukulele's you should be watching The Tour de France instead co' s that Guy from your Town is doing good things.:bowdown::bowdown:

mighty nice looking ukes you got there! that clamp is genius too.

Timbuck said:

You Shouldn't be looking at Ukulele's you should be watching The Tour de France instead co' s that Guy from your Town is doing good things.:bowdown::bowdown:

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Gee, Lance understands...I see him sometimes in the local HEB, and Sandra B., and once in a while Willie N. I guess "stars" kind of have me jaded, but a beautiful ukulele...that's a joy to behold('n)

russ_buss said:

mighty nice looking ukes you got there! that clamp is genius too.

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Here is a pic of the "only other one" in action on a mock set up..You position the top jaw on top of the bridge ..and turn the screw untill the lower jaw gently rises up and clamps hard onto the bridge plate...when the glue has set, just unscrew all the way and the spring pulls the lower jaw back to the open position.. then remove clamp. (the small adjustable foot prevents the knurled knob from scraping on the sound board)

Those ukes are absolutely beautiful!

That fireplace stuff was like my Helium Mahogany Ken...

Pete Howlett said:

That fireplace stuff was like my Helium Mahogany Ken...

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Your right there Pete...It's strange how material from one tree can be total'y diffrent to another tree from the same family of trees .. It sounds like my Family..They are all diffrent from me ( apart from "Aunty Nellie" who ended up in the Loony Bin)She was the only one I liked.

My buddy, Ray Shakeshaft has just bought one of these "Fireplace" ukes. It is a delight to play, to hold, and just to look at.

John Colter (Ukantor)

Beautiful stuff indeed. Great engineering on your clamp too.

I've now seen 2 of Ken's ukes in the wood and like us all, he 'cheats' with the style 0 style (guess where). Thank goodness for a forgiving public eh? :biglaugh:

I've tried both an original style 0 and one of Ken's. Ken's are better, simple as that.

I am not suggesting who or what is better... the reference is to a construction process. However, to respond to your comment:

I've played hundreds of Martin ukulele and they are as variable as any production instrument. It is my belief that only the good have survived. So it really does depend what you are comparing with and dare I say it, your experience of a whole range of ukulele. For instance: by better do you mean louder? It's the first thing people comment on regarding sopranos. By better, do you mean better than a mahogany style 0 or koa style 0? By better do you mean 'playability'? The comment is not helpful and is frankly a very personal opinion. Read my review of one of my instruments in this boards review section - flattering but not objective. And considering the first one Ian got was a dud as far as he was concerned this was a total surprise - I thought he was going to be the impossible to please client. In all I think that reviews can never be objective and responses are based on a multitude of factors. Just read any review of Chuck's work - it's almost as if the sound is the last thing on the client's mind... almost as if that jaw dropping 'art' overides every other consideration which is a shame because Chuck also prides himself on the sopund of his work.

Last year I did a repair on a 1926 friction peg style 0. As I played it in my workshop which is at the bottom of the garden, my wife could hear it in the house through double glazing and a closed door as if it was playing in the same room. In all my experience it had to be the 'loudest' Martin I had ever played - not the sweetest. Another time I played a Shriner uke - sweet, expressive lovely but not loud. It is very important to get a full perspective.

I know Ken is doing a great a job. He is a personal friend and I cut all the wood for his fireplace ukulele. Currently he is flavour of the month with his soprano in the UK and I take my hat off to him. But, and I think he would agree, he doesn't make better than anyone else. Much of the appeal for Ken's ukes is the 'value for money' price. If they were priced at £500 I think there would be a different perception and response.

And before you say it - Ken and I have had this conversation so I am not talking out of school.

Pete Howlett said:

I am not suggesting who or what is better... the reference is to a construction process. However, to respond to your comment:

... So it really does depend what you are comparing with and dare I say it, your experience of a whole range of ukulele. For instance: by better do you mean louder? It's the first thing people comment on regarding sopranos. By better, do you mean better than a mahogany style 0 or koa style 0? By better do you mean 'playability'? The comment is not helpful and is frankly a very personal opinion. Read my review of one of my instruments in this boards review section - flattering but not objective.

...And considering the first one Ian got was a dud as far as he was concerned this was a total surprise ... In all I think that reviews can never be objective and responses are based on a multitude of factors...



... If they were priced at £500 I think there would be a different perception and response.

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I like this and agree that reviews are based on so many individual things.
Even If there was a different format that we could all agree on for reviewing, something completely objective. Reviewing would still be a personal thing.

I agree with Pete's comments about reviews of ukes. The way we respond to any musical instrument is very personal. What I would say about Ken Timms' (Timbuck's) ukes is that I would choose to buy one rather than an original Martin style O. I had a very nice Martin O, but I found that I hardly ever played it, and I was always a bit nervous about taking it anywhere. I never felt as though it was MY uke - more like I was a temporary custodian. Having it was more a responsibility than a pleasure. Stupid, maybe, but that was my reaction to owning a piece of uking history. I sold it. I'm not a collector.

I don't care if Ken "cheats" in the construction process.Why did you find it necessary to say that, Pete? Whatever your intention, it sounded like sour grapes. Ken's ukes are superb, and wonderful value.

John Colter (Ukantor).

I made the point because Ken's ukes are not in the strict sense reproduction Martins as everyone assumes and praises them as. If you want one of those you pay a lot of money for a Mclaughlin.

On a personal note John, I do wish you wouldn't seek to be forever looking for some sort of 'motive' in the comments I make. You don't know me nor should presume to. I have no agenda and never have and I wish you and others would take that on board.

As it happens. Ken is a good and personal friend - we exchange both ideas, materials and services. I have nothing but admiration for his work. However, when his, mine or anyone elses work is eulogised in a subjective way those comments stand to be challenged - and I stress the comments and not the person.

There are many aspect of building for which the 'reproduction' end is very particular. I don't think either my sopranos or Ken's would meet some of the stringent standards collectors of repros demand. We also need to get away from the idea that this is a better sounding uke than that. In my time I've seen some jaw dropping stuff that sucks sound wise - is mediocre, flat and fails to project. Put a pickup in it and hey presto, no one notices. In all of these things context is the issue... Case in point - at the London Festival a meet a Japanese lady who showed me a japanese luthier built instrument. Gorgeous work but to me, sounded like it had a cold. In my personal experience this is often the case with new luthiers starting out (and remember, I only claim to have got my soprano sound in thelast 2 years) who haven't yet learnt to get close to the edge in building terms.

I think it would be more than fair to say that 30+ ukes down the line, Ken's current crop are head and shoulders above those first ones...

Pete, I say as I see it. Ken was not claiming that his instruments were accurate reproductions, so I see no valid reason why you should have made that negative comment.

If you'll excuse my saying so, your personal note sounds a trifle paranoid. You have said that certain comments stand to be challenged, I agree, and I will continue to challenge those comments from you, or from anyone else, that strike me as inaccurate or unwarranted.

John Colter.

Pardon my ignorance, but where is the common cheat? I'm only curious, not being critical of anyone.