About to buy a high end ukulele. any comments

thesoobz

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yo, so I'm saving up for a high end ukulele i've been playing my lanikai ck-c for a while now.
i was wondering if you any of you guys on UU could give me feedback on the ukulele based off personal experience and etc.

the two ukuleles i'm thinking of purchasing are:
The Kamaka Hf-3 (kamaka tenor)
or
The Kanilea k3- tenor

Ive played a Kamaka Hf-2 (concert) and i liked the loud bright sounds.
and
ive also played with a kaniela k3 or k4.. super tenor
i noticed it was more mellow.

any feedback would be nice. +)
 
It's ALL about personal preference! Bottom line - you can't go wrong with either of them, so make a decision and ENJOY! But since you asked, I own all of these and my favorite is the Kanilea Sound Monster. It is also the ukulele that most people comment on the sound. I also paid less for it. I will caveat my comments by telling you that my Kamakas (I have 2 tenor 4-string, a tenor 8-string and an Ohta-san) are a couple of years old and since I bought mine Kamaka has lengthened and lowered the bridge pin to give it more action - thanks to Jake. I will also add that regardless of the manufacturer and model, each induvidual instrument will sound different, so try to play as many as possible. Btw, I also own a couple of Pono's, G-string, Island, Flea, and old Martin and would suggest sticking to Kanilea or Kamaka as my first high-end ukulele....my 2 cents....feel free to pm me if you want to chat.
 
K3...those are expensive. I think you mean a K1-T. Correct me if I'm wrong, but for Kanileas, the number after the K just designates trim level. 1 is the most basic trim level, 2 is a bit more upgraded, 3 is pretty darn fancy, and you're basically paying a lot more money just for fancy look. The letter after the number, either S, C, T, or SS, SC, etc, indicates the size. Sort of different from kamaka designations. :)

I reccomend the Kanilea K1-T SM, or the sound monster that ke leo mentioned. Man I want one of those...it sounds amazing. The action isn't quite as buttery as the kamakas, but the tone and projection is unmatched.
 
high end ae??
mahaloes are highest IMO

see it doesnt matter whats on the inside, but whats on the outside... << doesnt even make sense lmao
 
. . . Kamaka has lengthened and lowered the bridge pin to give it more action

I've not seen a Kamaka with a bridge pin before. I'm guessing you mean simply "lowered the action at the bridge"?

The action isn't quite as buttery as the kamakas, but the tone and projection is unmatched.

If you're truly at the point where you have to decide between two instruments, and it comes down to one (or a few) issues, then you need to spend more money, with either builder. Talk to Joe, or Chris, or whomever you're looking at, and tell them what you want, so they can build it specifically for you.

Of course, you will essentially double or triple your cost, but will it be worth it? Only you can make that determination. I would imagine most would say that if you're going to spend over $2K, get two, not one. But, these would be disease stricken individuals, and they have UAS in a really bad way. Some will say get the one that you're going to play (I would be one of them - of course, I have UBS, and haven't gotten the ONE, yet).

Going back to ke leo's statement - you could always have the instrument set up (for you) after you buy it.

-Aaron
 
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Get two ukes

I wouldn't buy one instrument. I would buy the basic instrument that both companies make. They will both be excellent instruments - just not as pretty.

Remember though, decoration on an instrument (inlay, shell, etc.) makes the instrument sound worse than just plain uncurly wood.

KEN
 
Remember though, decoration on an instrument (inlay, shell, etc.) makes the instrument sound worse than just plain uncurly wood.

Sorry to disagree with you, Ken. There are certain aspects of inlay that will not make a bit of difference in the end result of the tonal quality of an instrument. In fact, most inlay artists will not mess with parts of the instrument that affect the sound, unless, the builder or owner is forewarned.

Personally, I include shell rosettes, not just for decorations, but it also stiffens the edge of the soundhole (which should be braced anyway).

The rest of the inlay is limited to the fretboard and headstock (as do many other inlay artists). More often than not, the consultation on the inlay takes just as long, if not longer, than the instrument itself. Its this aspect of custom inlay design, that the owner hopefully takes personally, that incorporates the mana of the builder/artist, passed to the player and then ultimately into their music. For those that have experienced this, there is no $ that can be placed.

On the other hand, you are correct in saying that a shell inlay (or hardwood inlay into a softwood top) onto a plate, in the wrong place, can negatively affect sound. I would hope, in this day and age, that anyone paying a good price for inlay will find an artist that knows not only inlay design, but also instrument construction.

-Aaron
 
Remember though, decoration on an instrument (inlay, shell, etc.) makes the instrument sound worse than just plain uncurly wood.

KEN

With all due respect Ken, I would highly disagree. My Martin D-45 is proof of that. In fact, there are many of the thought that all the inlay work in the top of a guitar like this actually helps the top vibrate more. Don't know if there is any truth to that, but there are many who think so. Either way, I would have to think that if my D-45 sounds as good as it does, then pearl on a uke isn't going to hurt.
 
I don't think Ken was insulting your Martin, it's just usually true is all. That's not to say some awesome instrument with lots of bling sounds sucky. It's just generally true that the less you mess with the wood the better job it can be left to do.
 
Sorry to hijack this thread, but since the topic is "High end" `ukulele. . . here is an excerpt from an article in Acoustic Guitar. The names Robinson, Laskin, Leach, Bordeaux, Larrivee, Lavin, etc are extremely well known in the craft:

Inlay Boundaries

Most inlay artists agree that inlay is best used in a guitar's headstock and fretboard, rather than in the actual body of the instrument. "I don't like to inlay into spruce," says Robinson, "partly because the tops need to resonate. On electric guitars, any surface is fair game. But inlaying in spruce is a pain in the neck, because there's hard winter grain and soft summer grain and when you're trying to rout it out, the router gets dragged out into the soft spots, areas that you don't want routed. It's just hideous to work with."

"I have inlaid the back and the top," says Laskin, "but only reluctantly. Some people really insist. But you're affecting the sound—especially on the top. You're inlaying hard materials into soft wood, so when you sand it, it's very hard to stay even. If the guitar doesn't play well and sound good, it's a complete failure no matter how stunning it looks."

"My approach to inlay is that it's a decoration on a functioning instrument," says Larrivée. "So it belongs only in a restricted area—in between the machine heads. Animals and [human] figures fit the shape of the headstock really well. I have done more elaborate inlays, but to me there's a barrier at the nut."


For the entire article, here is the link. Open your mind, open your eyes, (open your bank accounts), enjoy:
http://www.acousticguitar.com/issues/ag140/feature140.html
 
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I know Ken wasn't insulting anything or anybody, I was respectfully disagreeing.

Kekani, you missed this quote, Bordeaux disagrees: "I inlay full fingerboards, headstocks, pickguards, bridges, straps . . . I only draw the line if it's a vintage instrument."
 
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I recently went through the upgrade process, myself--looking for a quality tenor. The finalists were Kamaka, G-string, Koaloha, Kanilea, and the Compass Rose (Rick Turner). I chose the Koaloha and have been extremely satisfied.

Jon
 
I know Ken wasn't insulting anything or anybody, I was respectfully disagreeing.

Kekani, you missed this quote, Bordeaux disagrees: "I inlay full fingerboards, headstocks, pickguards, bridges, straps . . . I only draw the line if it's a vintage instrument."

That was intentional to see if someone would actually read the article.
 
hold your bones....so your saying that an inlay on top will effect the sound in a bad way? or am i just confuzzled. im want to get the inlay here:

ukulele.jpg


edit: sorry about the pic, its late and i use MS Paint. I guess i should email Gstring =/
 
hold your bones....so your saying that an inlay on top will effect the sound in a bad way? or am i just confuzzled. . . . . I guess i should email Gstring =/

You're confuzzled. Why would you think that?

The location that you're pointing to is not only above the bridge cross brace, its above the soundhole cross brace, right next to the heelblock and fretboard. Unless, of course, you're ordering a Compass Rose with an elevated FB (which seems you're not), or a Kasha braced instrument.

Then again, it depends on what's getting inlayed, and into what?

And actually, you answered your own question. Yes, call Derek. Without even knowing, I'll venture to guess that he'll tell you an inlay there will not affect sound of his instrument. Guess what, he'll probably be right.

-Aaron
 
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thanks for the info, it does make sense. I just really want an inlay, but i dont want to sacrifice the sound.
 
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We were watching a uke documentary just the other night where a luthier specialized in inlays all over the uke, including the body. He didn't seem to think his instruments sucked. One performing artist didn't seem to think so either.
 
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