I made this, the first Blue Uke, a few
years ago. The body was flipped in
the opposite direction, unintentionally,
but I didn't find it objectionable, so left
it that way. Subsequent Blue Ukes
have the opposite orientation. I made
this just for fun and used wood I had
on hand, which were curly maple, for
the back, sides and neck and a wood
from the spruce family, for the top,
which I can't remember the name of
just now.
years ago. The body was flipped in
the opposite direction, unintentionally,
but I didn't find it objectionable, so left
it that way. Subsequent Blue Ukes
have the opposite orientation. I made
this just for fun and used wood I had
on hand, which were curly maple, for
the back, sides and neck and a wood
from the spruce family, for the top,
which I can't remember the name of
just now.
Below is the second Blue Uke, made
approximately two years later. In addition
to the obvious aesthetic changes, the
scale length had changed from 13.5
inches to 14.5 inches. This longer scale
length makes it possible to join the neck
at the 14th fret while keeping the bridge
in the proper location.
approximately two years later. In addition
to the obvious aesthetic changes, the
scale length had changed from 13.5
inches to 14.5 inches. This longer scale
length makes it possible to join the neck
at the 14th fret while keeping the bridge
in the proper location.
When I bent the sides for the first Blue Uke it
didn't seem worthwhile to spend time building a
bending form, as I was only planning on making
the one instrument. When I decided to build
another, I knew I'd be building at least a few
more so I made a form for this instrument.
From this point on they a have more or less the
same shape, but since I don't use a mold
during construction, no two are going to be
exactly the same shape. I prefer using the
traditional Spanish method of building on a
workboard as this gives me more freedom.
didn't seem worthwhile to spend time building a
bending form, as I was only planning on making
the one instrument. When I decided to build
another, I knew I'd be building at least a few
more so I made a form for this instrument.
From this point on they a have more or less the
same shape, but since I don't use a mold
during construction, no two are going to be
exactly the same shape. I prefer using the
traditional Spanish method of building on a
workboard as this gives me more freedom.
I like to give my
ukuleles names and
this one is called
"Hachimitsu." This
honey colored "Blue
Uke" has a slightly
arched back (as do
all my instruments)
and sides of
European Maple.
This is a wood
traditionally used for
violins.
ukuleles names and
this one is called
"Hachimitsu." This
honey colored "Blue
Uke" has a slightly
arched back (as do
all my instruments)
and sides of
European Maple.
This is a wood
traditionally used for
violins.
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With the exception of the first, all the Blue
With the exception of the first, all the Blue
neck joined to the body at the 14th fret.
Ukes have a 14.5 inch scale and have the
The top is book matched Engelmann
Spruce and the mahogany neck has been
Gotoh tuners with "amber" buttons.Gotoh
tuners with "amber" buttons.
With the exception of the first, all the Blue
neck joined to the body at the 14th fret.
Ukes have a 14.5 inch scale and have the
The top is book matched Engelmann
Spruce and the mahogany neck has been
Gotoh tuners with "amber" buttons.Gotoh
tuners with "amber" buttons.
2008. The top and
back are one piece,
was curly Koa. It
has, what seems to
have become the
2008. The top and
triangular bridge.
back are one piece,
This shape while not
was curly Koa. It
only mimicking the
has, what seems to
only mimicking the
have become the
end of the Ukes now,
a fingerboard and
emphasising the
diagonal elements of
the instrument, also
adds stiffness to
this not only adds strength to this area where the string tension is greater, but also results
the top, particularly to the treble side, where the bridge becomes increasing wider. I feel
in brighter sounding trebles. It has rosewood binding, fingerboard and bridge. The
fingerboard has been radiused and the bridge, bone nut and compensated saddle have
been radiused to match. It has a "Tor-tis" nitrocellulose pickguard.
the top, particularly to the treble side, where the bridge becomes increasing wider. I feel
in brighter sounding trebles. It has rosewood binding, fingerboard and bridge. The
fingerboard has been radiused and the bridge, bone nut and compensated saddle have
been radiused to match. It has a "Tor-tis" nitrocellulose pickguard.
similar to the second BU. There
are some minor differences
European Maple with the flame
of the back running diagonally. It
are some minor differences
European Maple with the flame
of the back running diagonally. It
Mahogany BU completed March,
2008. The book matched front
and back are lightly figured
mahogany that have been It has
tortise look binding and tail inlay.
MOP "R" headstock inlay and
position markers. Gotoh tuners
with amber colored buttons. It has
a graphite truss rod, radiused
fingerboard, bridge, bone nut and
compensated saddle. The neck is
joined to the body at the 14th fret,
with 19 frets total.
2008. The book matched front
and back are lightly figured
mahogany that have been It has
tortise look binding and tail inlay.
MOP "R" headstock inlay and
position markers. Gotoh tuners
with amber colored buttons. It has
a graphite truss rod, radiused
fingerboard, bridge, bone nut and
compensated saddle. The neck is
joined to the body at the 14th fret,
with 19 frets total.
This is a recently completed "Blue Uke". The back is one piece and sides are book matched
mahogany neck has a truss rod for added strength, and has been stained a vintage brown.
The binding, fingerboard and bridge are rosewood. The fingerboard is slightly raidiused and
has been inlayed with Mother of Pearl position dots. Side dots are also provided. The
bridge, bone nut and compensated bone saddle have been radiused to match the
fingerboard. The neck is joined to the body at the 14th fret, and there are 19 frets total.
mahogany neck has a truss rod for added strength, and has been stained a vintage brown.
The binding, fingerboard and bridge are rosewood. The fingerboard is slightly raidiused and
has been inlayed with Mother of Pearl position dots. Side dots are also provided. The
bridge, bone nut and compensated bone saddle have been radiused to match the
fingerboard. The neck is joined to the body at the 14th fret, and there are 19 frets total.
My daughter named this
as they all have. The
back and sides are koa.
The back being one
piece and the sides are
pickguard is also koa
and in fact comes from
the same piece as the
perfectly matched in
color and grain. The top
Engelmann Spruce. The
headstock overlay is
koa, inlayed with a
abalone "R" and has a
sandwiched between it
and the mahogany neck.
The heel-cap also has a
rosewood veneer under
it. The fingerboard,
bridge, and binding are
rosewood. It has
abalone position
markers. Side dots are
also provided. It has a
compensated bone
saddle and bone nut.
Gotoh tuners and Aquila
strings.
as they all have. The
back and sides are koa.
The back being one
piece and the sides are
pickguard is also koa
and in fact comes from
the same piece as the
perfectly matched in
color and grain. The top
Engelmann Spruce. The
headstock overlay is
koa, inlayed with a
abalone "R" and has a
sandwiched between it
and the mahogany neck.
The heel-cap also has a
rosewood veneer under
it. The fingerboard,
bridge, and binding are
rosewood. It has
abalone position
markers. Side dots are
also provided. It has a
compensated bone
saddle and bone nut.
Gotoh tuners and Aquila
strings.
maple back, sides and the
photo of the side/end is
pretty close to the actual
back is washed out by the
piece and the sides are
piece and the sides are
book matched. The top is
book matched Engelmann
book matched Engelmann
Spruce. The Fingerboard
Spruce. The Fingerboard
and bridge are ebony.
The nut and compensated
saddle are bone. Mother
of Pearl "R" and position
dots. Side dots are also
provided.
photo of the side/end is
pretty close to the actual
back is washed out by the
piece and the sides are
piece and the sides are
book matched. The top is
book matched Engelmann
book matched Engelmann
Spruce. The Fingerboard
Spruce. The Fingerboard
and bridge are ebony.
The nut and compensated
saddle are bone. Mother
of Pearl "R" and position
dots. Side dots are also
provided.
The scale length is 14.5
inches and the neck
14th fret. It has Gotoh
tuners and Aquila
strings.
inches and the neck
14th fret. It has Gotoh
tuners and Aquila
strings.
Electric Hachimitsu
This instruments back
maple stained a rich
honey color. Not quite
This instruments back
and sides are curly in
the photos. The top
Engelman Spruce and
the mahogany neck has
been stained dark
brown. The neck is
fairly thin and has been
reinforced with a
graphite truss rod. The
East Indian Rosewood
headstock overlay has
a "R" inlayed in abalone.
maple stained a rich
honey color. Not quite
This instruments back
and sides are curly in
the photos. The top
Engelman Spruce and
the mahogany neck has
been stained dark
brown. The neck is
fairly thin and has been
reinforced with a
graphite truss rod. The
East Indian Rosewood
headstock overlay has
a "R" inlayed in abalone.
The position dots, on the rosewood
Side dots are also provided. The
bridge and binding are East Indian
traditional Spanish Heel. There
are 19 frets total. The pickguard is
made from a material called
"Tor-Tis." The nut and
compensated saddle are bone. It
has gold Gotoh tuners and Aquila
strings.
Side dots are also provided. The
bridge and binding are East Indian
traditional Spanish Heel. There
are 19 frets total. The pickguard is
made from a material called
"Tor-Tis." The nut and
compensated saddle are bone. It
has gold Gotoh tuners and Aquila
strings.
This instrument has a Pick-up the World I/O
Saddle Transducer pickup installed and has an
external PUTW Line Driver pre-amp.
Saddle Transducer pickup installed and has an
external PUTW Line Driver pre-amp.
The back, neck and sides of this Blue Uke are
Engelmann Spruce. The ebony fingerboard
has been radiused to enhance playability and
for asthetics and has mother of pearl position
dots. Side dots are also provided. The "R"
on the headstock, is also inlayed in MOP.
The bone nut, and compenstated saddle, as
well as the raised portion of the bridge, have
all been radiused to match the fingerboard.
Scale length is 14.5 inches, and the body is
joined to the neck, using a traditional Spanish
Heal, at the 14th fret. It has Gotoh tuners
and Aquila strings.
There is one small design difference in this
BU and previous ones. The headstock has
been reversed so the orientation is like that of
the body.
Engelmann Spruce. The ebony fingerboard
has been radiused to enhance playability and
for asthetics and has mother of pearl position
dots. Side dots are also provided. The "R"
on the headstock, is also inlayed in MOP.
The bone nut, and compenstated saddle, as
well as the raised portion of the bridge, have
all been radiused to match the fingerboard.
Scale length is 14.5 inches, and the body is
joined to the neck, using a traditional Spanish
Heal, at the 14th fret. It has Gotoh tuners
and Aquila strings.
There is one small design difference in this
BU and previous ones. The headstock has
been reversed so the orientation is like that of
the body.
Rich, dark, master grade koa, with a
dark brown, vintage stained, mahogany
neck.
This was a very difficult instrument to
photograph well and the photos don't do
it justice.
The "R" headstock inlay, fingerboard
position markers, rosette, and purfling
are all inlaid in abalone. The
fingerboard bridge and binding are
rosewood. The front and back are one
piece of koa, with the back slightly
arched in both directions. The
Honduran Mahogany neck in reinforced
with a graphite truss rod and joins the
body at the 14th fret. There are 19 frets
total. The fingerboard, which is slightly
radiused for playability and aesthetic
reasons, has side dots to assist in
positioning. The nut and compensated
saddle have been fashioned out of bone.
It has gold Goto tuners, with amber look
buttons and D Addario strings.
dark brown, vintage stained, mahogany
neck.
This was a very difficult instrument to
photograph well and the photos don't do
it justice.
The "R" headstock inlay, fingerboard
position markers, rosette, and purfling
are all inlaid in abalone. The
fingerboard bridge and binding are
rosewood. The front and back are one
piece of koa, with the back slightly
arched in both directions. The
Honduran Mahogany neck in reinforced
with a graphite truss rod and joins the
body at the 14th fret. There are 19 frets
total. The fingerboard, which is slightly
radiused for playability and aesthetic
reasons, has side dots to assist in
positioning. The nut and compensated
saddle have been fashioned out of bone.
It has gold Goto tuners, with amber look
buttons and D Addario strings.
This Blue Uke has a rich, dark, master grade, one
The Honduran Mahogany neck has been stained a
vintage dark brown to bring it closer to the shade of
the body.
The "R" headstock inlay, and fingerboard position
markers, are inlaid in abalone. It has black binding to
match the ebony fingerboard and bridge. As with all
my instruments, the back is slightly arched in both
directions. The neck in reinforced with a graphite
truss rod and joins the body at the 14th fret. There
are 19 frets total. The fingerboard, which is slightly
radiused for playability and aesthetic reasons, has
side dots to assist in positioning. The nut and
compensated saddle have been fashioned out of
bone. The pickguards were made from the same
master grade koa as the back and match perfectly.
It has gold Goto tuners, with amber look buttons and
D Addario strings.
The Honduran Mahogany neck has been stained a
vintage dark brown to bring it closer to the shade of
the body.
The "R" headstock inlay, and fingerboard position
markers, are inlaid in abalone. It has black binding to
match the ebony fingerboard and bridge. As with all
my instruments, the back is slightly arched in both
directions. The neck in reinforced with a graphite
truss rod and joins the body at the 14th fret. There
are 19 frets total. The fingerboard, which is slightly
radiused for playability and aesthetic reasons, has
side dots to assist in positioning. The nut and
compensated saddle have been fashioned out of
bone. The pickguards were made from the same
master grade koa as the back and match perfectly.
It has gold Goto tuners, with amber look buttons and
D Addario strings.
This is a 14.5 inch scale, blue sunburst,
Blue Uke. (A typical concert ukulele has a
scale length of about 14.75 inches.) It has
a one piece, curly maple back and
bookmatched sides. The curly maple neck
is reinforced with a graphite truss rod for
strength and stability and joins the body at
the 14th fret. There are 19 frets total.
The ebony fingerboard has been slightly
radiused for playability and astethic
reasons. The headstock "R," fingerboard
position dots and the side dots are all
inlaid in abalone. It has an abalone
rosette and top purfling. The ebony
bridge has been radiused to match the
fingerboard, as has the black Corian nut
and compensated saddle. Black top and
back binding, as well as tail inlay, match
the black buttons on the Gotoh tuners.
Blue Uke. (A typical concert ukulele has a
scale length of about 14.75 inches.) It has
a one piece, curly maple back and
bookmatched sides. The curly maple neck
is reinforced with a graphite truss rod for
strength and stability and joins the body at
the 14th fret. There are 19 frets total.
The ebony fingerboard has been slightly
radiused for playability and astethic
reasons. The headstock "R," fingerboard
position dots and the side dots are all
inlaid in abalone. It has an abalone
rosette and top purfling. The ebony
bridge has been radiused to match the
fingerboard, as has the black Corian nut
and compensated saddle. Black top and
back binding, as well as tail inlay, match
the black buttons on the Gotoh tuners.
BU Burst