Ken,
I agree. There is no question this ukulele looks and sounds fantastic. I would like to hear it without the reverb as I think a little of the real magic of the sound was getting lost in the effect. Congrats. And yes, the wait on a commission is usually worth it.
The room where I had to record it is very "dead" acoustically, Dom. I may have overdone the reverb a tad, I admit. And it certainly has a purer natural sound than my other ukes. And there is no reverb at all in the middle - just the first minute and at the end.
That is SO pretty. And to sound as good as it looks must take real skill and artistry by the maker. No wonder Pete's work is so highly thought of. :drool:
Meh, but at the end of the day, it's just a lump of wood with some fishing line... Not at all envious, me. [/tongue-in-cheek]
That is SO pretty. And to sound as good as it looks must take real skill and artistry by the maker. No wonder Pete's work is so highly thought of. :drool:
I never had any real doubt about the quality of sound I would get from a Howlett instrument. But I wanted to be able to choose the wood and specify the design. That's why I commissioned it.
All of these comments are well founded and most welcome. However there is no magic or mojo working here. I chose the best materials to suit the player and put them all together the best way I can. Care and concern all the way with an attention to detail.
Secondly, it is possible to ruin the sound of such an instrument by over playing it. Ken, very much to his credit, is a sensitive player who knows how to coax the best sound out of his ukulele.
Ultimately, it really isn't down to one thing getting such a good sound. Except this was a very special piece of koa.. usually it is a combination of craftsman and artist working together to produce something that will meet the standards of both.
that's very interesting, your comments on gentle love and care to get the best out of the uke.
Speaking as more of a guitar player, I find a damn good thrashing/exersise of the soundboard really opens the instrument up. Much playing is also needed on a new instrument to get the board worn in.
I suspect Koa and Mahogany, when used for sound boards, might respond differently. I'd definitely follow Pete's suggestion on that - but then, if I were breaking a horse, I'd try to do it with kindness and understanding, rather than just imposing my will on it.