#766- Yellow Cedar and Myrtle Scout Ukulele

This one was fun! It looks classy and is dark and rich for such a little guy. It’s a soprano scale ukulele made from shop scraps. Yellow Cedar neck and top, Curly Myrtle back and sides, Texas Ebony for the rest. It’s off to the scout list. Cheers!

“Hi Nicole and Aaron . . . I just wanted to let you know that I bonded immediately with ‘Myrtle’ #766, right out of her case! She is such a pleasure to play with and
her wood is exquisite as is her smooth satiny finish. I fully appreciate the deeper sound of this particular soprano. I knew I just needed to wait and be patient for the perfect Scout to come my way—and here she is!

Thank you for your lightening fast transaction and shipping! Aaron, your meticulous attention to detail, design and all around sense of aesthetics is quite evident in your work . . .

We’ve gotten a daily workout since the moment she arrived!

Many thanks for your beautiful creation and craftsmanship!
Play on,
J. K. ”

#767- Redwood and Mahogany Tenor Ukulele

This is instrument is mainly made from wood I salvaged from a closing boat shop in Tacoma, WA. I heard about some very old, very large pieces of real Honduras Mahogany that was there. I teamed up with a few guitar builders to split the stash, and found a plank of mahogany 10 feet by 4 feet by 4 inches. Behind was another plank half that size and behind that was this amazing redwood piece. I made a deal for all of it, managed to get it in my truck and got out of there before anyone could stop me. This sort of Mahogany is prized by luthiers for its strength to weight ratio, easy workability and beautiful grain. The Redwood is also nice, super old, super tight grained and perfectly quartersawn. Look forward to a lot of both of these boards over the next several years. I chose to pair it with some amazing grafted Pistachio from California orchards and my shop made rope binding.

#762- Spruce and Walnut Tenor Ukulele

A rustic look with simple domestic woods. Rich tone with a bit of a sparkle to it. I’m really proud of this one. The Spruce top is the last of my salvaged dulcimer maker’s Spruce from the 1960’s. The back and sides are local Oregon Walnut from the Dee Mill, the same board as Dave Matthews’s ukes. The Pistachio is from California orchards. Radiused fretboard, geared tuners, fluorocarbon strings, bone nut and saddle.

#758- Cedar Cigar Box Style Ukulele

Why? I don’t know. I just felt like it. It turns out that it sounds pretty darn good, with a dry and present voice. Cigar box instruments are an old part of American folk art, Sam Kamaka Jr even made some in the 1940-50’s. Instead of an actual cigar box, I used salvaged western red cedar throughout, with some cherry and maple for the hardwoods. It is concert scale, with a flat fret board, geared tuners, bone nut and saddle, brass strap buttons and fluorocarbon strings.

#765- Mastergrade Myrtle Tenor Ukulele

This summer, we made a builder’s choice baritone ukulele where Nicole picked everything out. That customer loved it and asked for a matching tenor version. The top/back/sides are Mastergrade Myrtle; colorful, curly and laid out with one piece top and back for an asymmetrical look. The neck is salvaged old growth Douglas Fir with a maple stripe. The fretboard is some grafted pistachio from California orchards. The headplate, bridge and binding are figured maple, with an inlaid scrap wood star. It’s fancy and I’m proud of it. The Myrtle and Pistachio are from www.woodfromthewest.com.

“I have been playing either the new baritone, the new tenor, or both every day. I love them both. They have definitely become my two “go to” ukuleles. I asked if you could make the tenor as much like the baritone as possible, and you did a wonderful job with that. They definitely look like siblings.

They are both beautiful, and the quality work is clearly evident in every detail on both ukuleles. The quality doesn’t end, though, with the look of the ukuleles. They are both very playable. The necks are very comfortable, and they are both very light and balanced, so they are very comfortable to play. The tone and intonation up the neck is better than any of my other ukuleles.

As a result, I am now exploring playing on the higher frets. The baritone has a beautiful warm tone; the tone of the tenor is much brighter. The contrast in tone between the two ukuleles give me two wonderful options to create the sound I want for each song. I know I will be playing both of these ukuleles for many years. I also love the hard cases that came with them, especially the tweed case for the tenor. Finally, I greatly appreciate that you use sustainably sourced woods from the United States.

Thanks again for these two wonderful instruments!
-H. L. ”

#763- Cedar and Dogwood Baritone Ukulele

This is instrument is one of a handful now that was inspired by Lizann’s original Cedar and Dogwood baritone. I think we have made four now?!? Every piece on it is salvaged, which sounds fun, but can sometimes mean extra work, but it’s worth it! The Cedar top is from a fence post from Duncan and Melany’s property on Cascade Head. It’s really sweet old growth Western Red Cedar, which is highly rot resistant and still useable after 60 years in the weather. The back, sides and pickguard are Dogwood, cut by Ken from the Carpenter Ant Stash in Portland from a tree on their property. It is multi colored, swirly grained and a nice hard wood for back and sides. The fretboard, headplate and bridge are Jatoba, a Brazilian hardwood I found as scraps in Ken’s shop. The neck is cypress from a salvaged factory tank, from Chris at The Dee Mill. Some simple maple ties it all together. Just like it’s other Cedar/Dogwood friends, it sounds huge, rich, detailed and expressive. I love it.

#756- Mastergrade Myrtle Tenor Ukulele

When I start with such a fancy set of Myrtle, it’s easy to feel inspired to match the rest of the parts to it. I picked some grafted Pistachio with dramatic grain and a curly Port Orford Cedar neck blank. I think the dark green Myrtle binding was also a good choice. I inlaid a Roman numeral 3 on the headstock, it’s the customer’s lucky number! The Myrtle is from the Oregon coast and the Pistachio from California orchards, via woodfromthewest.com. The Port Orford Cedar is salvaged from my neighbor’s shop, a retired flute maker.

#764- Spruce and Walnut Tenor Ukulele

This is one of my standard/classic designs and it doesn’t disappoint. Sitka Spruce is very strong but lightweight, which makes for a loud and responsive instrument. The Spruce top is from my dulcimer maker’s stash, cut in the 1960’s for a dulcimer maker who never used it. The Oregon Walnut back and sides is local, from The Dee Mill and is the same board that I used for all of Dave Matthew’s ukuleles. The neck is some Spruce from Craig Wilson’s shop, too small to be one of his guitars, but good for this project. The subtle but colorful Pistachio is perfect for the fretboard and headplate, salvaged from California orchards.

#761- Mahogany Alto Ukulele

This African Mahogany (Sapele, I think) was bought by me from a Luthier’s estate about 12 years ago. Including my time at Mya-Moe, I guess about 50 ukes have come from this pile. It feels safe and comfortable to me, which is why I grabbed it for this project. A simple alto uke with a low g. Rich but punchy. The walnut pieces are from a local tree that I milled. The rope binding adds a flashy but traditional flair.

“Hey Nicole and Aaron!
Just wanted to let you know that I’ve been really enjoying the instrument. Actually that would be an understatement.
I am completely in love : )
Thank you so much for what you do, and I wish you a warm, happy, healthy, and prosperous new year!
- A. L.
”

— Quote Source

#759- Redwood and Walnut Scout Ukulele

This instrument design is humble. It is inspired by the camp ukulele made by Lyon and Healy in the early 20th century. I make them from shop scraps when I find the time. I never really expected anyone to like them, but now I have about a year’s worth of people waiting for one. Their sound is also humble, but don’t be fooled, there is a lot of music hiding in there. Redwood top, Walnut back/sides/fretboard/headplate/bridge, Oak binding and Fir neck.

#760- Curly Maple Five String Banjo

I have spent years stockpiling nice maple to use for banjos, but customers rarely ask for it. Maybe they already have a maple banjo and are ordering from me to get a less common wood. I’m always happy to use it, though. I like the look, the feel and the tone. In this case, the non steel strings combine with the maple for a crisp but mellow tone with a round sustain. The maple is from the Carpenter Ant stash in Portland and the Pistachio is from California Orchards.

#751- Mahogany Tenor Ukulele

None of us are perfect, but we all matter and we’ve got some life left in us, I think. This simple tenor Uke is made from all salvaged scraps from the shop. The body is African Mahogany, cast off because the pieces were too small for guitar makers. The Fir neck and Maple everything else are scraps from the Carpenter Ant stash in Portland. I added some rustic stain to pop the grain, which I really like. It’s got a low g, geared tuners, brass strap buttons, a radiused fretboard and bone nut and saddle. Easy to play, with a big, honest sound.

#752- Blue Stained Port Orford Cedar and Mastergrade Myrtle Tenor Ukulele

It’s my bread and butter, so keep asking for them and I’ll keep making them! Port Orford Cedar and Myrtle are both Oregon woods that we are really proud of. They look great and sound great too. Lightweight but robust, loud but rich, detailed and expressive. Some Pistachio from California Orchards complete the picture. All the wood for this instrument comes from Kevin at woodfromthewest.com.

“#752 is a delight to play and to look at. I love the choice of the myrtle binding. The Baroque and Renaissance period pieces that I play sound fantastic. Thank you again for such a wonderful instrument that I will cherish and play for years to come.
- G. O. ”

#755- Myrtle and Walnut Concert Banjo Ukulele

Myrtle is a medium density hardwood that comes from Oregon. It is very useful in my shop, it even is good for banjos! This tree came from a Portland home, courtesy of Epilogue, an urban forestry mill. I love all the different shades of green, which contrasts with the darker Walnut. The Walnut for this build comes from the scrap bin at Goby, also in Portland. A goatskin head, white fret dots, brass arm rest and a low g make it more unique and personal. I love how loud it sounds, despite the lighter weight of the Myrtle.

#757- Curly Cherry and Texas Ebony Five String Banjo

I really don’t offer many options compared to some of my colleagues. I thought that would help keep my work repeatable, consistent and recognizable, but I still end up surprising myself sometimes. This banjo sounds basically like my others, but it also has a little something extra that I have enjoyed discovering over the last couple of days. It is rich, dark, expressive and detailed. It is easy to play and responds to the lightest touch. It looks traditional, but is full of tiny details that draw the eye when you take the time to find them. It is the kind of work that keeps me going and willing to get out to the shop on a cold, dark morning. Everything is Curly Cherry and Texas Ebony, which I got from a retired banjo builder. I used lots of white sapwood pieces mixed in for visual interest. The 12” rim has no metal tone ring, a goatskin head and non steel strings.

#753- Curly Cherry and Pistachio Short Scale Five String Banjo

Cherry is steadily growing on me as a favorite Banjo wood. I know folks like the dark color of Walnut and the traditional sound of Maple, but Cherry is winning around here. Sweet, loud and growling, it just feels right. This is a short scale Banjo, with an 11” rim and 20” scale. Brass tone ring, goatskin head, non steel strings and an arm rest for comfort. The Cherry is from a retired banjo builder and the Pistachio is from California orchards.

“Aaron, Nicole, and Henry,
 The banjo arrived in a beautiful case, safe and sound.
It is everything I hoped for…incredible! I feel so fortunate to have such an instrument. It’s little sister, the mini you made from the same materials minus the brass tone ring, has opened up after lots of play time and sounds great. Very open and bountiful in sound.
This new banjo sounds amazing. You can get many different sounds playing in various right hand positions. I always think that’s a sign of a really good instrument. Getting the “cluck” on this banjo is so easy.
Thank you Aaron, Nicole, and Henry for such a special instrument. You created my dream banjo. It is deeply appreciated and will be played with joy.
- M. A. ”

#754- Cherry and Oak Scout Banjo

I’ve spent a lot of time lately learning to bend and machine my own thin laminated rims in the old style, contrary to the block rims I usually make. This worked out well for this project, as the customer wanted the lightest weight mini five string I could make, while making sure it was strong, stable and sounded nice. I also used less brass hardware than normal and picked lightweight woods that were basically scraps from other projects, in this case Cherry and Red Oak. In the end, I think it is balanced, sounds nice and is at least a pound lighter than a block rim banjo. Win!

“Wow! It’s tiny and cute but this little banjo sings LOUD and has such unexpected sustain! I’m very pleased with it. Thanks so much! It’s going to get some miles on it riding along on my bicycle! Thanks again.
- W. S. ”

#750- Curly Port Orford Cedar and Curly Myrtle Tenor Ukulele

For #750, I decided to use only wood from Kevin at woodfromthewest.com. His operation has similar values to ours, with sustainability, forest conservation, salvaged logs and regional species at the core. With no middleman, no global shipping costs and a supplier who knows what I like, the customer’s dollar goes farther and makes a bigger impact. He sells wood for musical instruments, bows and any other fine woodworking projects. Check out his site.

The top on this one is curly Port Orford Cedar, which Kevin salvaged from Southern Oregon. I used a rosette instead of my normal sound hole binding, which is a nice change for me. The back, sides, fretboard, headplate, bridge and binding are all figured Myrtle, another tree native to the southern Oregon coastal forest. The neck is a five piece lamination of POC and Myrtle.

The sound is precise and crisp, with a rich sustain. Drop me a line if you would like one similar to this.

“ I am loving my new tenor #750 it packs quite the punch when I want to be heard in a band. I have received lots of compliments on its beautiful unique looks and it’s ability to handle all kinds of music styles.
I purchased it from you because I believe in sustainability (when its possible) and I knew you would produce a quality instrument that sounded great. I have been following Beansprout for years on social media.
I wanted to grow into this instrument and spend lots of time up the neck doing chord melody or 3rd or 4th position chords to add a higher range in group play. The intonation is spot on. I also had a pick up put in, I wanted to experiment with plugging it in to an amp.

Thanks again and best to you and your family.
- M. S. ”

#748- Curly Cherry and Pistachio Mini Five String Banjo

This model was among the first three that re-launched Beansprout in 2018. I intended it for a higher tuning, but most customers want the thicker strings and lower tuning of open g or a. Fine by me! The Cherry for this banjo is from The Carpenter Ant stash in Portland and the Pistachio is from California orchards. The goat skin head and brass arm rest make it a little fancier and fun to play.

#745- Juniper and Dogwood Tenor Ukulele

It’s always a challenge when I build for a repeat customer. I want it to be better than the first one and that can cause a bit of a mental/emotional block in the shop. What kept me going for this one was the unusual combo of Juniper and Dogwood. Both are Oregon trees that rarely hit the commercial fine wood working market. The Juniper top is from the high desert of eastern Oregon, a gift from Chris at The Dee Mill. The Dogwood is from Ken at The Carpenter Ant stash in Portland. It was a tree in their front yard that he cut, milled and stored for many years. It makes for a rich but bright sound and I look forward to making more of the same. The neck is salvaged cypress from a factory water tank and the grafted Pistachio is from California orchards. Maple binding, a Santo style headstock, bird’s foot purfling and wooden strap buttons make it a little more unique. It’s off to Australia!