#949- Spruce and Curly Walnut Baritone Ukulele

Every once in a while, it feels good to make an instrument with no binding. The clean look has a calm feeling to it that I appreciate. Spruce is always a good top wood, but I think it is best on the larger ukes that have more body volume for the spruce to pump. This baritone is a good example of Spruce, with long sustain, loud volume and nice clarity. This Spruce comes from British Columbia, harvested by luthier Craig Wilson. The super curly Walnut is from Medford, Oregon, milled by woodfromthewest.com The fretboard, headplate and bridge are Pistachio from California orchards. Lastly, the neck is salvaged Mahogany, puled from an estate sale.

“It’s incredible. I’ve never felt such a light baritone. The sound is full and loud when strummed but even more impressive to me are the notes being crystal clear with sensitive dynamics when picked and plucked. It’s also very beautiful with character. Simple and rustic in the front with those astounding curls on the back.

Thanks for the instruments!
- J. R. ”

#950- Hemlock and Horse Chestnut Tenor Ukulele

I like to call ukuleles with this color palette, my “high desert vibes” series. The state of Oregon is actually not all coasts and rain forests. Most of it is high desert prairie and I love taking inspiration from its colors. The back and sides of this ukulele is Horse Chestnut, given to me by Chris at Yodel Boy Woodworks. The top is thermally modified Hemlock, scrap wood from a trim carpentry project in my neighborhood. The fretboard/headplate/bridge is Pistachio from California Orchards. The neck is also Hemlock from the Carpenter Ant Stash in Portland. It is mellow and rich, but with a snap to the sound that I like. A bit brighter than a Western Red Cedar top.

#941- Builder’s Choice Fir and Myrtle Baritone Ukulele

This instrument started when I got a stack of tops from Kevin at woodfromthewest.com. The idea was to try to come up with some descriptions of different top woods to help builders and customers pick more easily. I think Fir has nice volume, almost as loud as spruce, but with a slightly darker, woody snap to the sound.

This has Myrtle for the back and sides, which is another wood from the Pacific NW that has a sweet and bright sound. It adds a little subtlety to the Fir sound that I find charming. The fretboard and headplate are Black Locust, a very hard local wood that I got from Chris at Yodel Boy Woodworks. I chose some salvaged Mahogany for the neck. The binding is Myrtle, with some multi colored ombré purfling and the headstock has a little leaf inlay with carved details.

It has our shop made beeswax and linseed oil finish. It is lighter and thinner than lacquer, but is easy to touch up and is made from renewable resources, which we love.

“Hi Nicole and Aaron!
The baritone arrived yesterday and is absolutely magical! It’s very warm, rich, and sustaining. I love how it’s quieter and mellower than the tenor. The open G chord just sounds so full! This size of instrument fits my hands the best and I can’t stop playing it. The woods are so unique looking and I love the leaf inlay.

I don’t know how you keep improving these instruments and they are all special but this one is the pinnacle of your work in my humble opinion. I’m so honored to be its caretaker!

Thank you for this playable art piece.
- C. T. ”

#908- Spruce and Koa Baritone Ukulele

This ukulele was built by Larry under my supervision, the first he ever took from start to finish. It took us almost 8 months, but he learned a lot and it turned out great. The back and sides are some Clockmaker’s Koa from the Carpenter Ant Stash in Portland. It has a Sitka Spruce top from a British Columbia drift log. The neck is old Spanish Cedar from a retired builder. The rest is local Walnut and Maple. It is rich, bright and cheerful, just like Larry.

#932- Builder’s Choice Koa Soprano Ukulele

I am so pleased to have this one done and ready to meet the world! I started it in the fall and have been chipping away at it ever since. It has a rich and dark sound for a soprano, with a nice sustain and throaty mid-range. The Koa is a very special set that has an interesting wavy figure. Like all Koa instruments, I will be donating to plant new Koa trees through Saving Hawaii’s Forests. The neck is salvaged Cypress, the fretboard/headplate/bridge is some local Walnut and the binding is shop made Walnut and Maple. There is a K&K pickup installed, a bone nut/saddle, radiused fretboard and fluorocarbon strings.

#929- Port Orford Cedar and Oak Scout Ukulele

The first Scout ukulele of 2025! A little gem made of shop scraps of Port Orford Cedar, Oregon White Oak, Walnut and Cherry. It’s going out to our Scout waiting list asap. Want to join the list? Email us info@thebeansprout.com. Thanks for all of your support!

“I received your sweet sounding uke earlier this week and am learning “crooked tree waltz” on it.
Just love it, thank-you so very much!
- K. P. ”

#952- Oak and Walnut Five String Banjo

This banjo started two summers ago, when Larry and I harvested some Oregon White Oak from his property. Some was set aside to dry, but the rest was steam bent while green into some banjo rims. About a year later, I paired it with some local Walnut as a stock instrument, but it has hid under my bench since then, awaiting its turn. As I planned ahead for my time off after surgery, this banjo seemed like a good one to chip away at with no pressure. A new customer reached out this fall to see if we had a stock banjo available, which put it back on the bench. The rim is two layers of Oak with a round brass tone ring, a little under 12” with only 12 hooks and nuts. I matched it with a goat skin head stained with the walnut shells from our yard. The neck is Oak with a local Walnut fretboard/headplate. I love the light sap wood contrasting with the dark heart wood. It has non steel strings that resonate well, even when tuned down a bit from standard tuning. The customer added a K&K pickup and a brass arm rest, dressing it up for the stage. I had help from Nicole, Henry, Larry and Marianne on this one, which made it really fun. I am thankful to them, the customer and all of you for the help and support as I rest and heal.

#933- Pacific Yew Tenor Ukulele

I am always hunting around for other west coast woods to use in my instruments. Not only is the use of a local wood more sustainable, but my customers seem to appreciate the sense of place that comes with them. Yew is a tree that I actually don’t see very much in the Hood River valley, but it is abundant in the North West as an understory tree. I heard from Kevin at woodfromthewest.com that he was providing Yew to boyers for archery equipment and it thought it might be good for a uke. Even though it's a “softwood” it is harder and more durable than Spruce, Cedar or Fir. We imagined it would work as top, back and sides and I believe we were right! It is very light and sounds crisp and bright. To match the sapwood in this set, I chose Cherry for fretboard/headplate/binding from a local orchard. The neck is salvaged Cypress from a water tank and the bridge is Maple. I think the color palette is perfect and I am really proud of this instrument over all.

“933 has arrived safe and sound. Wow, wow, wow! She is a stunner all around, and she feels like coming back to a cozy, warm house after a long day out. I haven’t put her down since I pulled her out of the case except to write this note.

The tone is reminiscent of cypress flamenco guitars, clean and crisp. The cherry accents pair wonderfully with the striking yew, and using salvaged wood is such a great way to honor and preserve nature. All of these traits combined sparked a creative fire in me that I haven’t felt in a long time.

I have followed along on social media since The Beansprout relaunched in 2018. Your work is simply beautiful and lets the woods speak for themselves. Thank you for building such a beautiful instrument!
- R. L.
”

#944- Cherry, Dogwood and Pistachio Concert Banjo Ukulele

This humble little friend packs a big punch! Cherry banjos have been a staple for the last few years around here, and this little version holds up against the big ones. The sound is loud and sweet, with none of the harshness that some hear in Maple. This Cherry came from our friend Spencer’s shop, with a good medium density and nice color. The fretboard and headplate are Dogwood, from the Carpenter Ant stash in Portland. The rim cap has a little Pistachio from California orchards. It has a low g for the fourth string, a goat skin head and a comfortable brass arm rest. Thanks for the order, Martha!

#930- Cedar and Ash Scout Ukulele

It’s been several months since I had the time to put together a Scout ukulele, but I hope it was worth the wait for a lucky customer on our Scout waiting list. This one is made from an interesting pile of shop scraps that I had fun putting together in a harmonious way. The back and sides are Ash from the firewood pile at Menucha in Corbett, OR. I haven’t really had the chance to use Ash before and I look forward to trying it on a tenor ukulele this winter. The top is Western Red Cedar from some wall paneling. The neck is Mahogany scrap from a guitar neck. The fretboard is Oak with Walnut binding, headplate and bridge. I had fun mixing and matching the different color tones till I had what I wanted. If you would like to join the Scout list, email us at info@thebeansprout.com.

#945- Walnut and Pistachio Tenor Banjo Ukulele

An all time popular Beansprout order: walnut tenor banjo ukulele! Simple walnut from a Hood River tree and fancy Pistachio from California Orchards combine to make a beautiful and useful musical tool. This customer asked for a goat skin head, which has a vibrant, earthy tone and a brass arm rest, which feels very comfortable. I am thankful and proud to get to still make stuff like this, happy strumming!

“Dear Aaron and Nicole,

My banjo uke arrived safely yesterday evening. It is an utterly beautiful and well-built instrument. I love the folksy quality of your instruments, and mine doesn’t disappoint. It is plenty loud, while being mellow and sweet at the same time. It’s exactly what I had in mind. It will provide years of enjoyment, and I will cherish it along with my other instruments.
Thank you! May God bless your family.
Sincerely,
- M. B. ”

#939- Alaskan Yellow Cedar and Curly Walnut Baritone Ukulele

This is the third baritone ukulele I have made this year with a yellow Cedar top and they all have sounded amazing. Crisp, detailed and colorful sounding, with a dry sustain. This wood was harvested by me off the beach at Camp Westwind in 2020 and I have treasured it as a top wood since. The blue streaks are likely mineral staining, probably from soil chemistry of where it sat on the beach after washing up in a big storm. The curly Walnut back and sides are from a local tree, milled by Chris at Yodel Boy Woodworks. We chose a Teak fretboard for this instrument, which was scrap wood from the Carpenter Ant stash in Portland. I wouldn’t buy a tropical wood like this, but I don’t mind salvaging a few pieces. The neck is Spanish Cedar from a retired builder. The headplate and pick guard are scraps from the project, laid out in a random mosaic. I think this instrument has a pleasing unity to it that I enjoy, leaving me with a peaceful heart.

#940- Myrtle Alto Ukulele

I love the simple design of this one, with local materials, lack of ornamentation and a muted color palette. The wood grain of the Myrtle is the star of the show on this uke, with the rest of the woods supporting. Like all Beansprouts, it sounds and plays great, which makes it an ideal musical tool that I am proud of. The Myrtle is from the Carpenter Ant Stash in Portland, the Fir neck is made from scraps from a cabinet shop and the Pistachio fretboard/headplate come from California orchards. The customer requested a custom tuning, beg#c#, which I made a fluorocarbon string set for. It really turned out well, with a chiming upper range that was a surprise to me.

#943- Mesquite and Pistachio Mini Five String Banjo

Mesquite is a native North American wood that looks a bit like Mahogany, but is harder. Sort of like Mahogany mixed with Ebony. This little banjo is tuned to open g, like a big banjo, despite the small 8” pot and 17” scale length. The Mesquite has a vibrant, dusty and compressed tone, which is really fun to experience in your lap. The Pistachio for the fretboard, headplate and rim cap come from California orchards and the Mesquite comes from a retired banjo builder.

#927- Cherry Baritone Ukulele

In the ukulele world, it is common to pick a medium density wood that is suitable for top back and sides. This makes an instrument with a classic tone that is vibrant in the lap. Traditionally, this would have been Mahogany or Koa, but we have added Mango, Myrtle and others to the list over the years. This local orchard Cherry was my most recent experiment and I am quite pleased with it. In the Hood River valley, I am surrounded by Cherry, Pear and Apple orchards. The trees rarely get big enough for woodworking because they are heavily pruned yearly and removed and burned when they stop fruiting. Larry and I pulled these out of a local orchard last year and it proved to be tremendous work considering the amount of lumber we got from the small trunks. Chainsawing, hauling, loading, splitting, milling, stacking, drying, milling again, etc… But, we saved some wood from the burn pile and will make some beautiful things from it. The last picture shows a bowl by a local woodturner, Lacey Spray, who I gave some pieces of this Cherry to. It is really cool to see two different objects from the same tree! The rest of this ukulele is Hemlock and Walnut, also harvested from local trees.

#937- Mastergrade Myrtle Tenor Ukulele

We have become well known for using woods from the west coast over the years and this one is a great example. The body is made of some wispy, feather figured Myrtle that I got from luthier Jayson Bowerman. Myrtle only grows in a small part of Oregon and California. It even has some filled tracks from some insects that were in the tree, which adds to its organic charm. The Pistachio for the fretboard/headplate is from California orchards. The neck is Port Orford Cedar and Walnut, both local woods for us. This ukulele is lightweight, resonant and easy to play. It is a good example of why I call Myrtle “Oregon’s Koa!”

#938- Redwood and Maple Tenor Guitar

This instrument was a fun study in contrasts for me, both in the visual and sonic sense. Redwood has a deep, resonant tone with a bit of a dusty edge, while a Maple back and sides is vibrant and sweet. The combo is a little of all that, with either quality coming through depending on how hard you pick the string. The color palette also features a lot of contrast between the deep red of Redwood and the amber of the Maple. I played with that by using a crazy Pistachio fretboard and headplate which draws from both ends of the color spectrum. The curly Maple binding with black decorative veneers made a nice border around everything. The Redwood was salvaged from a Tacoma boat shop. The Maple was a local tree, milled by Chris at Yodel Boy Woodworks. The Pistachio is from California orchards. The Fir neck is salvaged from a floor joist.

#936- Port Orford Cedar and Walnut Alto Ukulele

Port Orford Cedar and Walnut is a classic combo for us. Bright and cheerful, but nice sustain and warmth. I also appreciate the wide dynamic range. The POC top and the Pistachio fretboard/headplate come from Kevin at woodfromthewest.com. The Walnut back and sides are from a Hood River tree we milled. The Cypress neck is salvaged from a factory tank. This ukulele is light, easy to play and very charming!

#935- Curly Port Orford Cedar and Cherry Tenor Ukulele

Port Orford Cedar is such a good top wood: clean, crisp, loud and rich. It’s even better when it has this extremely curly figuring. The back and sides are some Cherry I salvaged from a cabinet shop with tiny little flecks in it. My friend called it hummingbird’s eye cherry. I paired it with a POC neck and grafted Pistachio fretboard/headplate/bridge and simple Walnut binding. The Pistachio and POC is from Kevin at woodfromthewest.com. Thanks for the order Tom, happy playing!

#934- Curly Koa Kingdom Era Tenor Ukulele

Here’s a tenor ukulele with a body based on old rajao from the Bishop Museum and the collection of Shawn Yacavone. The rajao was a Portuguese instrument that came to Hawaii and served as an ancestor to the ukulele. Most were five strings, which I have built in the past, but I felt it would also be a good size for a four string tenor uke. In this case, it is strung gcea with a low g. The body is Koa, as is the fretboard, headplate and bridge. The neck is salvaged Cypress from a factory and the rest is shop made rope binding of Maple and Walnut. Even though it looks antique, it has geared tuners, bone nut and saddle, radiused fretboard and modern strings. I am really pleased with the sound, which has a vintage sparkle but plenty of warmth and sustain. Cheers Dave!