When I restarted Beansprout, I drew a pretty hard line in the sand about sustainability and wood sourcing. Some people told me that I was crazy to limit myself by not using some of the typical rare, tropical woods that luthiers traditionally use. But, I have found the opposite to be true. The available number of domestic, sustainable woods open to me are far greater than the handful of choices a luthier is usually presented with. Today’s uke is a good example. The curly white oak is rather common in Oregon and I have almost a lifetime of it available, salvaged from the Carpenter Ant stash in Portland. In instruments, it sounds loud and lively, with a rustic, dusty vibe to it. This amazing old growth Douglas Fir top is likely an off cut or scrap from a long forgotten project, also from the Carpenter Ant stash. The mahogany neck is a leftover from the scrap pile when I worked at Mya-Moe. The pistachio fretboard, bridge and headplate are harvested as a by product of California orchards. It takes a curious nature, an antique picker’s persistence and hard work to source wood this way, but for me it’s the right thing to do. Also, it makes for instruments that have a slightly unique look, texture and sound to them, as woods are combined in new ways.

“Aaron, it looks incredible. Honestly, its workmanship is such a testament to your talents and love of your craft. And I’ve never seen rope binding look this good. Mean. it. My instrument sings with a beautiful strength and clarity. The love of the luthier remains in the wood.
Best to you and Nicole and much gratitude!
- L.O.”