Almost scientific research, but not

This week I take four sopranos to our luthier school and try to research their differences by metering. I have one Martin S0 from -62, one diligently played Mexican made Martin S1 from 5 years ago, one Ken Timms cuban mahogany that I bought about year and half ago.
For comparison I have also 3 years old John F Kinnard soprano, which was bigger body, side sound port, different bracing and cedar top and mahogany back and sides.
First I weighed them. Then meter top and back frequencys with open and closed sound hole. I did every metering 10 times and calculater avarage values. Who guess results? Did they differ much?
Then I took them to our zero acustics room (an anxious and unpleasant place) and record their voices. I haven't done it yet, but I will try to analyze their voices using spectrogram software and learn something. Or maybe I just did this for fun and curisity. I want to find out what can I meter and is it useful to me as a luthier. I have read some academic thesis about metering instruments voice quality using technical tools and computers, but usually all scientific research and the instruments studied have been other than ukuleles, typically violins.
Old way is exact measures, taptuning and listening, but I want to try this. And then I go back to taptuning, becouse I belive it will never goes out of fashion.

Should be interesting. Hopefully you'll use the same strings on all of them?

Ukecaster said:

Should be interesting. Hopefully you'll use the same strings on all of them?

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Yes, all was with Worth browns. But Kinnard not.

Seems to me you would benefit from reading Left Brain Luthiery by David Hurd. Hint - it's about flexion not tap-tone. TT is a red herring in IMHO. It doesn't tell you anything because the 'membrane' is so small.

First of all, there is no such thing as a Martin SO from 1962, it would just be an O style. I do agree with Pete, TT on a small top plate isn't of much help, it any. All these tests would tell you what? They would only apply to these 4 ukes, nothing else or any other ukes regardless of maker or when they were made. My guess is you would still favor one over another because of the way they play and sound, wouldn't you?

BlackBearUkes said:

First of all, there is no such thing as a Martin SO from 1962, it would just be an O style. I do agree with Pete, TT on a small top plate isn't of much help, it any. All these tests would tell you what? They would only apply to these 4 ukes, nothing else or any other ukes regardless of maker or when they were made. My guess is you would still favor one over another because of the way they play and sound, wouldn't you?

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It might tell you something about what you're hearing. Which if done in an intelligent way on various instruments, could lead to insights about what aspects of construction and materials lead to a preferable result.

I've done a little bit with frequency response measurements of ukuleles. I found that there were measurable differences in how they measured, which seemed to explain the differences in what I was hearing. Obviously, frequency response measurements aren't essential to making good instruments, but why discourage natural curiosity?

I'm no luthier, but I always find this stuff interesting. Can't wait to read of your results.

Uke-alot said:

It might tell you something about what you're hearing. Which if done in an intelligent way on various instruments, could lead to insights about what aspects of construction and materials lead to a preferable result.

I've done a little bit with frequency response measurements of ukuleles. I found that there were measurable differences in how they measured, which seemed to explain the differences in what I was hearing. Obviously, frequency response measurements aren't essential to making good instruments, but why discourage natural curiosity?

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That is exactly what I think!:agree:

Pete Howlett said:

Seems to me you would benefit from reading Left Brain Luthiery by David Hurd. Hint - it's about flexion not tap-tone. TT is a red herring in IMHO. It doesn't tell you anything because the 'membrane' is so small.

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I have read that book. I didn't understand everything, but I like his scientic way to think. You don’t have to think everything scientifically when build instruments, but there’s no harm in that either. I have build less than 20 ukuleles so I am beginner, but I try to learn better. I have learned a lot, but want to learn more. I am glad that I have had good teachers and mentors before I go to luthier school, who have been professional luthiers for decades. I have played different stringed instruments and piano almost all my life, and I've been doing woodwork as a hobby throughout my life. I have built scale aeroplane and boat models, little sailing boat and even a log house with my father and my brother. So I know something about wood and tools already. I also have a little workshop where I have everything that I need for instrument building.
I have make notes of every instruments that I have made. I think it helps me remember things and understand what happen inside ukulele. I use dial gauge, tuning machine and my ears and eyes. If I find I don't know something (that happens almost every day), I try to find out it. Finding right questions is hard sometimes, but I try to do my best. One and probably main thing why I did that research project was that I want to know what I can measure and I want to learn to use different electrical measure equipments and softwares. I have always been curious and that is my way to live my life. Maybe curse too, but I am happy about that anyway.

I've made over 1000 ukuleles and have no notes or have even read David's book. My thesis is that wood is unique and the successful working of it is down to following a few basic rules. The rest is mojo. I've never questioned what I have done and it has been a hard, but successful road. I don't overthink anything. Having said that, I respect builders like you who want to understand it all.

I am glad the OP is documenting their investigations for the forum. It is always interesting to see someone go and find answers to their questions and share those answers.

I have seen Left Brain Luthiery by David Hurd mentioned in a few threads over the years? Is the book still in print? Where could one get a copy these days?

Pete, from all the stuff you have shared through the development of The Revelator and all your posts long before I found here - there shines through a fastidious attention to doing what you know works but still challenging it to be better.

What particularly blew me away (in addition to the tiny changes in your brace designs as you moved to V fan bracing) was the shape of your bridge patch.
My imagination cannot tie the shaping of that bridge patch to any basic rule. I have read a few of the ukulele bulding books out there (but don't have the time/cash/real reason to read Gore and Gilet or Somogyi's Guitar books).
Nothing in the Ukulele books out there even resembles your bridge patch. How did you work out that it worked for your ukuleles?


OP, thanks for the interesting thread and the interesting discussions that have arisen.