uke construction for a fool: soundboard selection and more

Caveat: I have never built a musical instrument, guitar or otherwise... my thinking comes from what I've read and heard.

I suppose I should introduce myself first. My name is Ben, and despite only playing around with it once, I love the sound and feel of a Uke. It's on my gotta-have-it list now. I am a part-time furniture maker, but never attempted to make an instrument, despite being tempted by guitars multiple times. I've been thinking about making one, versus buying one, and here are a couple stream-of-thought questions for y'all.

One thing I've noticed is that Uke builders seem to prize visual qualities as much as sound qualities, when it comes to soundboards... does this mean that soundboard selection is less important here than it would be with guitars, violins or other strung instruments? I can buy into this argument, to the extent that the 'pluckier' sound of a uke may come more directly from the strings, and is less resonant.

I have some gorgeous woods, particularly a chunk of curly quartersawn Swiss Pear that I love, and would love to use... but don't want to sacrifice sound for looks. At least not too much

So. If I build, need I hunt down some beautiful spruce or mahogany? (I can.) Or am I fine to use whatever suits me? (Swiss pear is like a denser, smoother cherry wood, paler and "creamier" in color. Perhaps somewhere between maple and cherry in texture and density.)

Anywaiz I suppose that's enough rambling. If I do go the building route, any suggestions on where to start for design basics?

ciao

-b

Ooh that pear sounds lovely definatley make a uke if it has a good tap, someone with knowledge will come along soon enough and give you some answers (i'm relatively new to the uke) have a look at some of the topics in this forum, they are very comprehensive

Will

The swiss pear would probably make a good back and sides, but you wouldn't want to use it for your first build, not if you love it as much as you say you do. Save that for build number five.

I'm with matt, you'd probably make a real gem with that pear, but it'd be smart to save it for later, when you're more comfortable with it. Although you are experienced and that would help speed up the process of learning to build, it'd be smart to get something cheaper, like maybe some birch or walnut (or maybe cherry) for back sides and neck and maybe some spruce, or cedar for soundboard, just saying, I'm actually going to be starting my first figure-8 soon, and it'll be made entirely out of lacewood, except for fingerboard and bridge, which'll be ebony (I'm getting those pre-made, and I think the contrast will look nice)

edit: as a kind of side-topic, will the lacewood be good for a soundboard, or should I get something else, 'cause I'm thinking some western red cedar or some scot's pine, maybe even yew would look nice, any ideas?

mcnilly said:

Ooh that pear sounds lovely definatley make a uke if it has a good tap, someone with knowledge will come along soon enough and give you some answers (i'm relatively new to the uke) have a look at some of the topics in this forum, they are very comprehensive

Will

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What does this mean... have a good tap? Mill to a particular thickness and just tap on it with yer fingers for sound? Or something more specific?

As to the pear wood itself, I have enough of it that I don't fear things going astray. I literally just finished a door glue-up that scares the hell out of me (29 pieces in one glueup, almost all prefinished, with colored epoxy to risk smearing) and nothing built for myself can cause me that kind of stress. The curly stuff I have is 10/4+, 12-12" wide and 5'+ long. I have 2 other smaller 8/4 pieces, each about 6-8" wide, similar length. So I'm not gonna run out any time soon.

I will re-ask the question about soundboards tho -- any clue how much of a difference it makes in a uke? Is it false religion in guitars?

Cheers,

-b

I will re-ask the question about soundboards tho -- any clue how much of a difference it makes in a uke? Is it false religion in guitars?

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Spruce soundboards make a big difference with guitars, but ukes are not guitars. Give the pearwood a shot and let us know how it works out. I've only seen it used as a fretboard for a gorgeous guitar made of all New York grown wood. The builder is in Hamilton, not too far from Ithaca.

Swiss pear is not a front wood... used in lute making and early keyboard instruments a lot.

Ben,
There is lots of info on the net regarding tap tone. Check out Youtube for various videos if you haven't already. If you really want to get technical, check out taptuning.org. Mostly to due with violin plates, etc. Sounds like you have a lot of the pear. Resaw some thin plates out of some of it, take it down to workable thickness and experiment a bit. There are members here using all sorts of woods that are not considered traditional tone woods. Maybe some of the more experienced and knowledgeable here will weigh in on tap tone of various woods and why some are not suitable for ukulele tops. As for design resources, there are plans available from various sources, including plans based on the Martin "O" as well as plans available from Hana Lima Ia in Hawaii. They also offer a building book, based on building the kit they offer.

Pete Howlett said:

Swiss pear is not a front wood... used in lute making and early keyboard instruments a lot.

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I definitely knew it wasn't one traditionally. I see that you are a professional with what appears to be a wide variety of experiences. Are you saying that it should absolutely not be used as a front wood, or that it's just abnormal? Have you made (m)any instruments with non-traditionals? Did any of them turn out to be a waste?

Cheers,

-b

Koa and mahogany are open pore timbers - that's why they sound good. Pear is a fruit wood - dense and with a tendency like all fruit woods to twist. It doesn't qualify as a front 'tonewood'. I use it for binding.

If I may make an observation: there are two types of newbie/aspiring builders. Those who follow a traditional pattern acknowledging that years of getting it right is probably the path best to follow for a novice and who ask for advice, take it and often produce a great result. There are the others who read everything, ignore it all and then want to set the world alight with an innovation most sane people wouldn't even consider and who ultimately make an instrument they are disappointed with.

I don't want to discourage anyone from building so go ahead. However, do read everything you can, watch all the YouTube videos on building you can, watch every one of Taylor Guitars videos and any other leading manufacturer for that matter; but above all, study what the leaders in this field are doing and then ask yourself why? You will, like most of us, come to the inevitable conclusion: Because it works! Most of us have tried to innovate but few have achieved true success... beware of following crooked paths. The way to success is straight and true!

Well put Pete, and it's true for most professions and activities. Most ukers, when they are learning to play the instruments, work really really hard to learn from other players and teachers. Why not do so when building your first instruments? When I was fresh out of architectural school, I learned from experienced architects and that has helped me to reach farther than I would have if I had invented my own way of doing things.

Again, well put.

Sven

Pete Howlett said:

Koa and mahogany are open pore timbers - that's why they sound good. Pear is a fruit wood - dense and with a tendency like all fruit woods to twist. It doesn't qualify as a front 'tonewood'. I use it for binding. <snip> Most of us have tried to innovate but few have achieved true success... beware of following crooked paths. The way to success is straight and true!

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Pete, I note that you've made ukes from cherry (a fruit wood like pear?) and yew (a non-traditional tonewood). From all accounts they're damned good.

For those who would like to experiment, can you give any hints about how to rule out obvious duds in advance. As specific examples:

1. You say pearwood is no good but you've succeeed with cherry - how do they differ, and how could one spot it?

2. What led you to yew as a non-traditional tonewood?

Some of us are just having fun building. I confidently expect that my first build will be barely playable (at best), but I'm having fun building parts, learning techniques and so on. However, I don't want to bust a gut working up (say) a laburnum top which sounds like cardboard. On the other hand, if I had some nice X wood which might produce a playable, though not great instrument, then I'd possibly still try it - the journey is more important than the result for my purposes.

I'm not trying to set the world alight, honestly!

ProfChris said:

Pete, I note that you've made ukes from cherry (a fruit wood like pear?) and yew (a non-traditional tonewood). From all accounts they're damned good.

For those who would like to experiment, can you give any hints about how to rule out obvious duds in advance. As specific examples:

1. You say pearwood is no good but you've succeeed with cherry - how do they differ, and how could one spot it?

2. What led you to yew as a non-traditional tonewood?

Some of us are just having fun building. I confidently expect that my first build will be barely playable (at best), but I'm having fun building parts, learning techniques and so on. However, I don't want to bust a gut working up (say) a laburnum top which sounds like cardboard. On the other hand, if I had some nice X wood which might produce a playable, though not great instrument, then I'd possibly still try it - the journey is more important than the result for my purposes.

I'm not trying to set the world alight, honestly!

Click to expand...

Good questions, but I believe yew was used in English lutes and dulcimers for centuries. In fact (as I recall) one of the oldest man made artifacts is a a yew pipe.

And I'll add, when reading Pete's post, keep in mind the subject line of the thread he's responding to.

Brueko has made all-pear ukes (i.e. with pearwood top, back and sides) that look and sound spectacular. I would describe the sound as "mellow". Pear is also used - traditionally and still quite extensively - for winds, particularly recorders, flutes, pipes...

Pete, thanks for taking the time to read and respond here. I hope I am misreading things, but it feels like I have perhaps hit a sore spot with my questions, so I will try to keep things honest yet friendly

Your point is well taken, regarding the trodden path. If you consider my original question, it centers around figuring out what the trodden path is, relative to ukes (not guitars), and why that path was set:

benomatic42 said:

does this mean that soundboard selection is less important here than it would be with guitars, violins or other strung instruments? I can buy into this argument, to the extent that the 'pluckier' sound of a uke may come more directly from the strings, and is less resonant.

Click to expand...

The open pore commentary is right in line with that question, and begins to open my mind up to the "way it works". Is it really that simple: open pores == good sound? I know that historically strong soundboard woods were probably learned via hard won experience. But there are plastic ukes out there, and people say that they sound good. So how do I resolve this conflict?

Pete Howlett said:

If I may make an observation: there are two types of newbie/aspiring builders. Those who follow a traditional pattern acknowledging that years of getting it right is probably the path best to follow for a novice and who ask for advice, take it and often produce a great result. There are the others who read everything, ignore it all and then want to set the world alight with an innovation most sane people wouldn't even consider and who ultimately make an instrument they are disappointed with.

You will, like most of us, come to the inevitable conclusion: Because it works! Most of us have tried to innovate but few have achieved true success... beware of following crooked paths. The way to success is straight and true!

Click to expand...

With all due respect, this observation feels a bit stereotyped to me. I don't currently aspire to become a builder. I currently aspire to possess a uke, and I have the skills, tools and materials to pull it off in some form. I don't aspire to set the world alight. I have great respect for tradition and traditional building techniques; so much that I would prefer to use hide glue, for example. But more than anything, I currently want to build something that I will love to play, hear and have (aka, show off). You seem to sell to professionals, so really, "what works" for you may differ from what works for me.

I actually just noticed from your website that you teach uke construction as well... and I am moving to the netherlands in a few months. How does your instruction work? If I haven't totally pissed you off with my response, I would love to hear more about this. (PM would be great!)

Cheers,

ben

Pete Howlett said:

Koa and mahogany are open pore timbers - that's why they sound good. Pear is a fruit wood - dense and with a tendency like all fruit woods to twist. It doesn't qualify as a front 'tonewood'. I use it for binding.

If I may make an observation: there are two types of newbie/aspiring builders. Those who follow a traditional pattern acknowledging that years of getting it right is probably the path best to follow for a novice and who ask for advice, take it and often produce a great result. There are the others who read everything, ignore it all and then want to set the world alight with an innovation most sane people wouldn't even consider and who ultimately make an instrument they are disappointed with.

I don't want to discourage anyone from building so go ahead. However, do read everything you can, watch all the YouTube videos on building you can, watch every one of Taylor Guitars videos and any other leading manufacturer for that matter; but above all, study what the leaders in this field are doing and then ask yourself why? You will, like most of us, come to the inevitable conclusion: Because it works! Most of us have tried to innovate but few have achieved true success... beware of following crooked paths. The way to success is straight and true!

Click to expand...

Great advice Pete.