In your opinion what differentiates a "high end" ukulele from the rest ?

With some good quality moderate priced ukuleles coming onto the market over the last few years I am interested to know what owners of "high end" ukuleles see as being the difference in sound quality between their ukuleles and the lesser priced ones.

In my mind the biggest difference is consistency. You can get some nice ukes in the $300 range but it is more of a crap-shoot whether you'll get a good one or the rare great one. As you move up to the "higher end" ukes from established makers there may still be a very occasional dud but you have a much, much better chance of getting a really great uke.

You can get lucky and find an Ohana, Mainland, etc. that rivals the best of the high-end ukes, but those are more the exception than the rule. I have a Mainland mahogany soprano uke that rivals my KoAloha ukes...but most of my Mainland ukes are good value for their price but not in the same class as my high end ukes.

John

Hi Olde Phart

I am interested to know what you consider the actual 'sound' differences to be between your different ukes. Do the higher end ukes really sound dramatically better in terms of sustain, tone, note clarity etc. ? I realize that the sound quality produced by a custom made ukulele SHOULD exceed that of a mass produced ukulele, if only because of the increased attention to build quality.

Hello Fred,

I agree with John on the consistency aspect. From a higher end instrument maker, I expect differences since each is unique, but I also expect the same attention to detail across the board.

Refinement is another aspect I have come to expect in higher end instruments (I say instruments and not just ukes because I've played guitar a lot longer than uke and the level of build for high end makers is similar). I believe the refinement is a matter of combining time allotted to build, funds available to stay within the price point, expectations of the product by the company, and the skill of those turning the raw materials into an instrument. If you aim higher and have the ability to hit those goals, it's noticeable in the end product on a regular basis.

As a byproduct of refinement, in my experience, the instrument is of higher overall quality. The parts work together in a way that creates sweeter tones, better sustain, a cleaner built instrument, less flaws in materials and finishing, etc.

I think it basically comes down to the "you get what you pay for", and on a more consistent basis when you go with a high end instrument. If you combine talented luthiers, excellent materials, proper tools, and the time to complete the job correctly, you're going to end up with a great uke more often than not. When you're pumping out lower priced instruments to meet consumer demand below a certain price point, quality and consistency are going to suffer, at least some of the time.

Fred Ukestone said:

Hi Olde Phart

I am interested to know what you consider the actual 'sound' differences to be between your different ukes. Do the higher end ukes really sound dramatically better in terms of sustain, note clarity etc. ?

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Absolutely. Almost anything can be made to sound good in a video (especially at YouTube where they often fiddle with AGC and such during their "processing' of your video). But, in person the difference in volume, sustain, and richness of, say, a KoAloha (or my BP custom) is noticeably better than even the best ukes I've played that came out of "factories."

Until I bought my Boat Paddle tenor, my KoAloha longneck soprano strung with tenor Alohi strings kicked butt on every tenor I owned. My Pineapple Sunday doesn't have the low-end response of a tenor (actually, I bought it because it has a tenor scale neck but sounds very much like a good soprano) but in terms of sustain, dynamics (read "volume," because you have to have good volume to get good dynamic range) it is pretty much untouchable.

The Boat Paddle is incredible. It doesn't seem especially loud when you are playing it, but it projects an amazing amount of volume forward. I discovered this when I recorded my first "real" video with it a few days ago. I used the same microphone placement that I always have with other ukes and it almost drowned out my vocals...and I've got a big mouth!

Even though my mahogany Mainland soprano that I love so much is a cannon with CH strings - it doesn't have the richness and sustain of high end ukes (it has a wonderful "bark" though, which is why I consider it one of my best ukes and say it rivals my high end ukes).

Now, all of the above is not to say that factory ukes are junk - not by a long shot. I recorded a video for the Seasons on my Mainland mango tenor strung low-g just this past Sunday because it was the right uke for that song. James Hill often plays factory ukes, he might even have an endorsement deal, I don't know.

But, for those who can afford a "high end" uke and have the ear to appreciate it - they should at least have one or two in their stable!

Finally, any uke that blends great intonation, nice feel and action, good volume and sustain, and rich tone together is simply much more enjoyable to play. I recorded a silly video of a Woodi and my modified KoAloha longneck soprano last week. I did both demos in one long take then split them up. I played the Woodi for three minutes and it felt like twenty even though I've filed down the zero fret so the intonation is decent. Then, I played the KoAloha for something like fifteen minutes thinking it was about three - and that is the KoAloha that was damaged and modified into a braced five-string so it doesn't really even have the volume and sustain of a KoAloha any more. It still has very rich tone and great feel, though!

I can get "lost" in my BP just playing jazz chord progressions and practicing finger rolls. On "lesser" ukes I will be "done" after fifteen to thirty minutes of that. (My poor wife probably wishes I hadn't bought the BP. LOL)

John

Thanks for the great answers guys, particularly for the direct comparison of instruments, John.

A favorite quote from a musical giant:

Someone once asked Louis Armstrong "What is Jazz?" His response-"If you have to ask, you'll never know."

I think of a high quality (high end) ukulele as one that has a relatively consistent sound from top to bottom, from one string to the next, is capable of being played LOUD without sounding harsh, and when played quietly still has some color to the sound.

These qualities allow the player to make a wide range of music without the instrument getting in the way.

Just to ramble a little bit. Last Thursday I took my 15-year-old granddaughter to the local Guitar Center store. The "Martin Experience" tour made its stop there that night. The tour includes demos of about a dozen very high end ($4,000-15,000) guitars and the opportunity to test them out. The tour person is a Nashville studio musician who demonstrates all the guitars and shows that while certain ones are better for some styles, they all are adaptable, depending on the skill of the musician. He did lean toward a couple of "all-purpose" ones he prefers for studio use. I wanted my granddaughter (a good guitarist) to see/feel/hear for herself the difference between a "good" guitar and a "great" guitar, and that she did.

Among the questions she asked the tour person was how can you custom-order a guitar, or even buy one you didn't personally first play, and have it be right? She took as gospel the answer - that takes a lot of knowledge and experience earned over time, and nothing fully replaces hands-on.

Her comments afterwards about the "experience" on the ride home that night and on Sunday were very enlightening. She loved the demo guitars, especially one $7,000 parlor (it is not on the future gift list!). She gave succinct remarks about tone, feel, build quality and such, but then said some things I took as very profound. If she was to get such a guitar, she would only want one because it would be played to death, and that it would be ridiculous to have such an instrument parked in the corner only to play others instead. She said that having more than one high-end instrument was just "collecting stuff" because you could afford to and didn't make any musical sense at all. She said she could appreciate the full-time musician needing spare and/or specialty high-end instruments, but as an amateur it was not really necessary. She said she had a lot to learn yet.

I'm pretty sure my answers to the same questions about high-end instruments would have been somewhat different. Her's were spot on!

WARNING: This is a HIGHLY sentimental and philosophical answer!

High End depends on the ukulele and the buyer and what someone can afford.
I have had someone write me and ask if my Master Class Breedloves were good beginner ukes!
HECK YEAH! If you have the money...

So, sort of like beauty is in the eye of the beholder. A high end uke can differ from person to person.
But I think if in your heart if it sounds, plays, and feels like you want...
then to you it is a high end uke.

And if you are a struggling collage student where an $85 budget is all you can scrape up, then that $85 uke is your high end.

Ok... that is also the romantic minded overly sentimental Mim talking there!

My first uke was around $220. I started with a $100 budget and kept eeking up until I found my first love. And he was high-end to me and I still love him to this day! The ice cream shop was struggling, and I needed something to make me happy on the cold winter slow days. He was a sacrifice, but well worth it!

Hahaha... so carry on! Don't flame me for this. I just wanted to say...
A $100 uke that is played every day and loved by the player is more high end to me
than a $3000 uke among a collection that is only played every now and then.

Carry on... haha!

Fred Ukestone said:

Thanks Steve. Not sure about the John Lennon quote though. Certain governments actively pursue regional instability. The Middle East is a case in point.

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Yes, but the quote says "if everybody wanted" it. Your "Certain Governments" are not only part of that, they're made up of people.

Imagine. If you can't imagine it, it really is impossible.

Two things; price and acceptance at that price.

I "got it" the day I played my Pono concert, then laid it down and immediately played a Kanilea concert. An enlightening moment.

Get the best uke you can afford....remember the old adage, you get what you pay for....of course choose wisely too....Try before you buy ....

Usually more attention to the individual instrument and the playing experience of it. The necks in particular on high end ukuleles just feel so good in your hands.

For most people high end equates to dollars spent. I tend more to differentiate between mass produced and boutique or small shop ukes. However, I also tend to think of "high end" in terms of reputation - the "cachet" of owning a particular brand.

For some people the high quantity Hawaiian ukes - Kamaka, Kanilea, Koaloha, Koalau, are "high end" to others they are "mid range" except for their more expensive custom models. My personal view is that these ukes are highly variable. A good Koaloha can be a spectacular players instrument, but has a certain crudeness of production that you won't find in something like a Collings. You can find good or bad examples of any of these.

There are a number of small shop custom builders like Boat Paddle, Covered Bridge, Ono, who make some very fine instruments. Of these I own a Covered Bridge and I've had a chance to play a few. These instruments are a bit of a risk because you can rarely try before you buy. You are going on the builder's reputation which may or may not be warranted. In my view you can get a spectacular bargain. If you compare my Covered Bridge to a Collings or a Mya Moe you will find lots of little things that are not as refined. However the instrument has a sound that is alive, real depth and character, and lots of sustain. In my view it is the equal of and superior to many ukes costing twice as much or more. I think of them as "high end" from a musical standpoint.

Then you have mass produced ukes that are made with considerable refinement. I'd put Kiwaya and Brueko in this category. (I own both). These generally cost less than custom ukes, but have real character and a lot of care in construction. I don't think of them as "high end". Although some Kiwayas are pretty expensive.

Then you have Martin. Martin is kind of in a class by itself. Vintage Martins are sought after and expensive. To some people they are the epitome of high end. Modern Martins are controversial (and there are really two kinds - Mexican and American). Because of their history, owning Martin has real meaning to some people.

Then you have the "boutique" factory ukes - Collings and Mya Moe come to mind. These are made with a high degree of refinement, lots of care in the construction, and also have a lot of character. In my experience, for pure refinement and perfection of construction, Collings pretty much blows about everything out of the water. However, that doesn't mean that a Collings is my favorite to play. I think to most people these would be "high end" ukes.

Then you have the experienced, established builders who make custom instruments which are pretty pricey, Kinnard, Rick Turner, Pete Howlett, These are people with a reputation for consistently good work. I think these again are pretty clearly "high end".

Finally you have what I call unobtanium ukes. To some people these are the only ukes that would qualify as truly "high end". These are ukes like Kawika, Pegasus and Moore Bettah. With the exception of Chuck Moore, these come from builders who are no longer building ukes. They have developed a reputation among collectors with money and therefore have a demand in the market that exceeds their availability. Of these I have two Kawikas (purely obtained by extraordinary luck). I've never even seen a Pegasus and never played a Moore Bettah (I don't care i'd still buy one. Chuck: please please please sell me one of your ukes). Are my Kawika ukes "better" in some way. Well they are rare. They are beautiful. They are great playing ukes. If you take away the name and the history, they are arguably on a par with the best custom ukes being made by the "k" brand makers. it's the uniqueness of these instruments that makes them special. Value is in the "eye" of the beholder.

I can't believe I have actually thought about this so much.

"If you compare my Covered Bridge to a Collings or a Mya Moe you will find lots of little things that are not as refined. However the instrument has a sound that is alive, real depth and character, and lots of sustain. In my view it is the equal of and superior to many ukes costing twice as much or more. I think of them as "high end" from a musical standpoint."

I agree. My Covered Bridge Claro Walnut was an exceptional sounding instrument. Fit and finish were appropriate for the price point, but sound rivaled any price point.

I think of it as the golf club syndrome....you may have the best bag of golf clubs ...but you ain't necessarily going to play any better.........

I buy and play what I can afford ...that's my "high end".......but to each their own .......and no that's not sour grapes...or the politics of envy ...or anything else like that....

So interesting.

This thread is really making me want more ukuleles.

katysax said:

Finally you have what I call unobtanium ukes. To some people these are the only ukes that would qualify as truly "high end". These are ukes like Kawika, Pegasus and Moore Bettah. With the exception of Chuck Moore, these come from builders who are no longer building ukes. They have developed a reputation among collectors with money and therefore have a demand in the market that exceeds their availability. Of these I have two Kawikas (purely obtained by extraordinary luck). I've never even seen a Pegasus and never played a Moore Bettah (I don't care i'd still buy one. Chuck: please please please sell me one of your ukes). Are my Kawika ukes "better" in some way. Well they are rare. They are beautiful. They are great playing ukes. If you take away the name and the history, they are arguably on a par with the best custom ukes being made by the "k" brand makers. it's the uniqueness of these instruments that makes them special. Value is in the "eye" of the beholder.

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I believe Bob Gleason (Pegasus) is still building some ukes. I wonder if it's any coincidence that the three builders you mentioned all live within a few miles of each other? Maybe it's the water.

CeeJay said:

I think of it as the golf club syndrome....you may have the best bag of golf clubs ...but you ain't necessarily going to play any better.........

I buy and play what I can afford ...that's my "high end".......but to each their own .......and no that's not sour grapes...or the politics of envy ...or anything else like that....

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That's why I gave up golf. The more I spent, the less I improved. Because of me some local holes were reclassified as Par 9s.

_AS (put whatever stringed instrument you have the most) is based on that marketed idyllic sound, ease of play, etc. that may make plunk-and-thud sound like angel voices. No matter how much I spend on the "golden fleece" instrument, some guy shows up carrying a battered no-name with second-hand strings, and when he plays everyone in a thirty yard circle goes silent in awe. Will we ever learn.....