Reasons -NOT- to buy a Kala KA-ATP-CTG?

Rich, I actually agree almost 100% with what you just wrote. I completely believe that you could have a fantastic Kala and that you have really bonded with the uke. I have also owned and sold ukes that others lust after where the uke just didn't do it for me. And I've seen great variety within kinds of ukes. I have had Ponos that were just ho-hum and for a long time I was very unimpressed by Pono. But I decided to have Andrew pick one out for me, and the one he sent me is killer. I've played Mya Moes that I've loved and I've played Mya Moes that were ho-hum. I've got a Collings that blows my socks off, but I have not loved every Collings. Same with a Mexican Martin. There is no doubt in my mind that someone could have a Kala and love it every bit as much as any of the more expensive ukes in your signature.

When I was playing more guitar I would go into guitar stores and check out the guitars. Every now and then I would pick up an inexpensive guitar that just blew me away. The Sam Ash by my house had a used Epiphone Texan that I went in there and play about 20 times, then I bought it. It was Japanese made and laminated. I have played that guitar far more than my Martin. But unless you can go somewhere and try a number of instruments, you are dependent on luck.

One possibility would be for Booli to pick up the phone and call Andrew Kitakis and discuss this issue with him. Andrew is very honest and can probably advise Booli what he thinks of that model and what he has in the store.
 
I must bow to Ivan Olarte and his assessment. If it's good enough for him, it is surely good enough

It's all a matter of personal taste. I personally think Ivan is also far too accomplished to be playing a Kala, as well (fair intonation at best). But, then again, perhaps a player as good as he can make it sound better than it really is.

Maybe I have it backwards and beginners should have K brands and customs and experienced players should be raising the cheaper instruments up.
 
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Steve, you're making me blush. I wish I was 1/2 as accomplished as you make me out to be *blushing*

Don't get me wrong, I love the expensive ukes, I have from a Godin, a Koaloha PS,Sceptre, and T2, as well as my beloved Mya-Moe and soon Gary Gill #21. I love those.

But my point is that music is not in the instrument but rather in the player, and the connection with a listener, be it yourself or an audience of 1 to n+1...

So with that in mind, as part of my training, I have focused less and less on mistakes, on perfect intonation etc...

Depending on the song I'm recording or just trying to play I pick what I deem to be an appropriate uke, not necessarily the top one in m collection.

Between the classical guitar and UU communities and forums I have seen too much focus on the right instrument, strings, nails, intonation etc... to the point that they become crutches or filters for what we are trying to communicate.

If you think for a minute, all the great masters from Django, through Andres Segovia (considered to be the greatest Classical guitarist), blues masters, even Willie Nelson and his famous guitar etc, played with old instruments, gut strings and less than perfect or top notch instruments.

In fact I just read about the latest findings that the secret of the Stradivarious violin sound appears to be due to the many tiny imperfections and asymmetry of the instrument. While nature itself appears to be made of perfect shapes, symmetry etc, it is the actual variance and lack of perfection that makes "beautiful" same with the asymmetry of the human face etc.


So while I have One (Actually a pair or twins) classical guitar, I own quite a few Ukuleles and love\play them all at one time or another. For instance, I plan to record smiles, and the Yellow Smiley Face Mahalo is just fine for that song as its mostly in the first position, and the look & feel of it become part of the performance.

the 8 and 5 strings come in handy when I want a fuller sounding sound, in particular to some of the south american folk songs that I'm trying to learn. and so on.

A performance on an Iuke piccolo is highlighted by it's size and just being able to play somewhat cleanly on the tiny size, vs. playing a clean, clear, resonant classical piece on a mya-moe.

that to me is part of the beauty and charm of the Ukulele, unlike most other instruments Ukuleles vary so much in their sound, texture, feel etc, that the choice of instrument itself is part of the experience... I can't think of any other instrument where this plays such an important and varied role.

Getting off my soap box now :eek:ld:
 
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Well said��

I can only say that my experience with my Kala cedar-top flies in the face of all that I've read from the nay-sayers. The workmanship is impeccable, I find no fault in the intonation (how do you improve on spot on??), the appearance is lovely and (contrary to many ukes of higher cost) tasteful. I favor satin/semi-gloss finishes, but I've come to like the Kala's gloss, paricularly for the way it brings out the beauty of the woods' grain. It sounds and looks like a uke I should have had to spent rather more for, with loudness, warmth, resonance, sustain and some ring. I'm still considering the supposed move up to a Pono or Kanile'a, but rather than getting another cedar top, I'll probably opt for, say, mango (a more "traditional" sound)—I love the cedar sound, but for that I've got my Kala, and I'll have to get more spoiled before I feel the much greater cost is worth such a modest improvement in sound. (I'm also tempted by the new Opio tenor, but I now "need" cutaways, since I play more and more on the upper neck.)

I think Kalas get unfairly assessed due to their popularity and ubiquity—part of those intangible factors that bias our opinions, no matter how objective we try to be. As a contrarian by nature, I fully understand that reaction. I find it hard to be objective about Lanikais and Oscar Schmidts, and even my view of Pono and Ohana, despite all the recent raves, is tinged by some old and probably no longer applicable factors not worthy of mention.
 
WOW. You guys are awesome! I never expected so many well-thought out and varied opinions. I am very impressed with all of you.

There are so many good comments here, and many thoughts I have in response, so it's going to take me a little while to compose a meaningful reply, so please do not lose hope...if you don't see a new comment from me right away...feel free to continue with this discussion....:)
 
Well, he asked for reasons not to buy it. I was only trying to help.
And yes, the varying levels of quality are most delightful and charming in ukuleles. I just think the particular model Booli is thinking of is Kala's "high class" model. It sure looks it.
Ivan, I love your work with the tiny instruments. Must be a gas.
 
Hey I thought I would share some pics of the 2nd Uke I ever bought a kala concert cedar top with upgraded tusk saddle and but and gotoh tuners. I bought it used here and actually has a very sweet distinctive sound and is one of my favorite Ukes. Ironically I have not recorded anything with it yet...

As you can see on the last pic it almost looks like an offspring of my cedar top classical guitar. In classical I love cedar it is so sweet and clear!

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Hey I thought I would share some pics of the 2nd Uke I ever bought a kala concert cedar top with upgraded tusk saddle and but and gotoh tuners. I bought it used here and actually has a very sweet distinctive sound and is one of my favorite Ukes. Ironically I have not recorded anything with it yet...

As you can see on the last pic it almost looks like an offspring of my cedar top classical guitar. In classical I love cedar it is so sweet and clear!

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That's the same model I have, except I have the tenor version. From what I've heard, this is perhaps the best model Kala ever made.
 
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