#852- Koa and Pistachio Tenor Banjo Ukulele

Koa is an uncommon wood for banjos, but I have a stash of flat and rift sawn Koa from the Carpenter Ant stash that makes perfect banjo parts. It was originally milled for clock cases and has had a lot of time to dry and season. Combined with Pistachio from California orchards, it makes a nice banjo uke. Cheerful, bright and sweet with good sustain. This one has a simple Beansprout leaf inlay with some wood burned details from Nicole. Maybe we should offer this on other instruments? Like all of our Koa builds, we will donate to plant more native Hawaiian forests here.

“Hello, Nicole and Aaron;

I am delighted with my new banjo uke! It is everything I hoped for. The quality of the craftsmanship is excellent, and the sound is wonderful! It has received many compliments from the other people in my regular informal jam session, and it hasn’t failed to impress both the banjo players and the guitar players as well. I’m currently using your “Fingerstyle Ukulele” workbook to begin growing into a better musician. (Someday, perhaps I’ll play well enough to really show that ukuleles ought to be allowed in bluegrass!)

Again; THANK you very much for this great instrument.
- C.S.
”

#848- Port Orford Cedar and Myrtle Scout Ukulele

Another humble Scout Ukulele made from shop scraps. Myrtle and Port Orford Cedar from the Oregon coast and local Oak and Walnut. This one is bright and cheerful with nice sustain. It’s off to the Scout waiting list, email info@thebeansprout.com to get on it.

#822- Mastergrade Myrtle Baritone Ukulele

I’ve been saving this fancy Myrtle which I inherited from a guitar maker for many years. Well, it’s time for this board to make music, so here we are! I also used Myrtle for fretboard and head plate, which I think is a nice look. The neck is some old salvaged Fir with really nice grain as well. I bound it in curly Maple and chose a Maple bridge to match. I strung it with a special string set, so it can be tuned gcea. This gives the normal uke tuning a deeper tone due to the larger baritone body. Of course, it can be strung for dgbe as well if that is what you prefer. It is available here for $2200 plus shipping, and includes a hard shell case. A K&K pickup can be added for $150.

***** If you are an international customer (outside of the US), please note we may need to charge you additional shipping fees depending on your location. You will also be responsible for any customs fees imposed by your country. Thanks! ******

#843- Curly Port Orford Cedar and Curly Walnut Tenor Ukulele

Port Orford Cedar is a Northwest wood I handle all the time. I am used to all the different types, grain patterns, the curl, even specific trees I have worked from over the years. When I lit this one up for photography yesterday I was still blown away by the top. I finally took the time to appreciate its amazing grain, curl and natural beauty marks. And the sound! Rich, full, bright, detailed and expressive. I also made the neck from curly POC, with some walnut stripes and a carbon fiber rod inside for strength. All the walnut is from a grafted Walnut stump I got from Zena Forest Products a few years ago. The POC came from my neighbor, a retired flute builder. This instrument also has a 1.5” nut width and a K&K pickup.

“Hi Guys,
I’m finally getting around to sending a picture of me #843. I’m totally enjoying it! I switched to a high g string and am really liking the sound. Definitely different than anything else I own. Very bright, fun to play and the sustain goes on forever!. I’m working on my fingerpicking and 843 is my usual choice. Besides, I just like to look at it! And, the strap looks and works great too!
Happy holidays!
- T. G. ”

#841- Walnut, Pistachio and Mesquite Five String Banjo

This project had lots of fun little details to keep me on my toes, but by the end I couldn’t be happier with it. It just feels, looks and sounds incredible. The 12” rim has a brass tone ring and is made of Mesquite and Texas Ebony with a Pistachio cap on it. The neck is Walnut and Pistachio, with 20 frets and 4 spikes. It has a Fiberskyn head, Hawktail tailpiece, brass arm rest and Baggs pickup. I think the Mesquite rim adds a lot of bass and sustain to the sound. The Mesquite and Texas Ebony come from a retired builder. The Walnut is from a retired furniture maker and the Pistachio is from California orchards.

#840- Cherry and Pistachio Short Scale Five String Banjo

Cherry keeps impressing me lately. It is plenty loud, but also textured, mellow and rich. This 11” cherry rim has a wood tone ring, a synthetic head and non steel strings. It’s a good all around combination that I can’t complain about. The 20” scale neck is short enough to be comfortable and light weight, but long enough to hold the G tuning well and look proportionate to the 11” rim. The Cherry and Walnut neck is all wood salvaged from the Carpenter Ant stash in Portland. The Pistachio fretboard, headplate and trim comes from California orchards.

#842- Curly Port Orford Cedar and Poplar Tenor Ukulele

I say “no” to more woods than I say “yes” to. When I find a new wood, I want it to be domestic, sustainable, affordable, look good, easy to work and sound good. No wood gets a perfect score, of course. One thing that often happens is that I salvage a few boards from somewhere and I find inspiration within them. Maybe I can never find or afford a board like this again, but I’m willing to work with it as I salvage it. Lots of my Mahogany is like this.

In this case, I pulled a long, wide board of perfectly quarter sawn Poplar from the Carpenter Ant stash. Poplar is a fast growing, easily workable hardwood from North America. You can even get it at Home Depot! I used it for back and sides on this uke, even finding it to be a bit curly. I paired it with a curly Port Orford Cedar top and neck, salvaged from a retired flute maker and local Walnut for everything else. It is light, responsive, loud and rich.

“The instrument arrived today - wow. So beautiful. So light. A lovely sound. I played the strings with my handmade finger picks made of crow beaks, and they started a musical coversation that will last a very long time.

I shall treasure this instrument, and take good care of it as I play it.

Thank you kindly,
- L. M.
”

#839- Juniper and Chinquapin Tenor Ukulele

I work hard to limit the number of woods that I use. This helps with the consistency and identity of my work, but also helps with the labor of checking for sustainability and yield. But, there are still some ukes that contain a combination that surprises me. In this case, the Juniper is from Western Oregon and came from Chris at The Dee Mill. It is sort of between Cedar and Spruce in hardness and tone. The Chinquapin is a west coast wood that behaves like a mix of Oak and Mahogany. Put all that together for a bright but earthy sound, with some grit below the sweetness. I like it. The neck is some Port Orford Cedar and the rest is local Walnut. I am really proud of this one and can’t wait to pass it on.

“This uke speaks to me on all levels. Bright yet warm. It’s very inviting. What a joy Aaron. You really are able to “feel” the woods and bring them together. Such beautiful music.
- J.H. ”

#838- Clockmaker’s Koa and Pistachio Mini Five String Banjo

Koa for a banjo? Why not? It’s a nice medium density hardwood, looks awesome and has a dark but vibrant sound. This Koa was imported to make clocks decades ago and has been waiting to be a banjo! I paired it with some Pistachio from California orchards that has some interesting beauty marks and a similar color palette. Open g tuning, goat skin head and brass arm rest finish it off. As always, I will donate to plant some future Koa trees to pay it forward.

#837- Redwood and Mahogany Tenor Ukulele

This is the 3rd of four matching ukes inspired by a wood salvage mission to a boat shop in Tacoma last year. The redwood top and mahogany back/sides/neck were all rescued on the same day. It is wrapped up in my random layout rope binding and features some crazy pistachio from California orchards. The sound is rich and warm but also punchy and detailed. I have enough for one more, drop me a line and I can build it for you.

#835- Mahogany Scout Ukulele

I was inspired by some salvaged Mahogany I had from slicing up our Tacoma boat shop slab to make this little scout ukulele. I think a Cedar neck and some local Walnut accents compliment it nicely. It is a loud little instrument, but also soft and sweet when needed. This scout is ready to head out into the world! It includes a well padded Kala soft shell case

#833- Spruce and Mahogany Tenor Ukulele

I was just explaining to my son how certain things go in and out of style (Crocs, fidget spinners, Pokémon) while other things seem to be…classic. (Levi’s, Tolkien, Miles Davis) I think Spruce and Mahogany is pretty darn classic. It makes me think of the thousands of 20th century American guitars made by Martin, Gibson, etc…and the countless songs strummed on them. I paired these two woods with some simple Pistachio and some rope binding. It has a low g and a pickup too. I love it. The Mahogany is salvaged from a boat shop in Tacoma, the Englemann Spruce is from a luthier’s estate sale and the Pistachio is from California orchards.

“Dear Aaron & Nicole,
I love this ukulele. Thank you both so much for your artistry, and attention to detail. I’m so very happy,
and will be saving for a short scale banjo next !
Best Regards,
A. R. ”

#827- Spruce and Curly Myrtle Alto Ukulele

Spruce and Myrtle has been popular in the shop lately. It’s loud, bright, sweet and mellow all at the same time. It also has a nice, bright color palette that stands out compared to all the brown ukes out there. The one piece Spruce top is from a Canadian drift log. The super Curly Myrtle back and sides are from the Oregon coast. The Spanish Cedar neck is from a retired builder. The grafted Pistachio is from California orchards.

“Dear Keim Family,

Just a quick note to thank you for everything. I have scarcely been able to put the ukulele down since it arrived earlier today.

This unique alto size is just what I’ve been seeking; at once bringing that traditional ukulele sound with the generous playability of a larger instrument. The wood combination works to bring a happy and balanced sound.

And it looks just beautiful. Aaron has an aesthetic that matches my own crafting these humble-looking pieces of playable art that, upon closer inspection, are actually full of thoughtful detail and understated elegance.

Thank you.
- K. M.

”

#832- Redwood and Mahogany Tenor Ukulele

This instrument is a close copy of one I made last year. The Redwood top and crazy Mahogany were both salvaged from a closing boat shop in Tacoma last fall. I used the same Mahogany for the neck as well. For the binding, we chose the random rope pattern that I make. The final flourish is the crazy Pistachio from woodfromthewest.com. I have another on order for next month and one more set of this Redwood and Mahogany on a shelf that is available. I love the sound of this combo and the aesthetic is certainly wild!

“Love it. I’ve been playing it almost exclusively.
It’s my wife’s favorite too.
I took a picture of both my Beansprout Ukes.
# 516 and # 832.

Thanks!
- D. K. ”

#830- Koa Tenor Ukulele

I had fun keeping it simple and natural with this one, featuring some humble clockmaker’s Koa from the Carpenter Ant stash. This sort of Koa often gets overlooked in favor of the fancy stuff, but it is still beautiful to me. Sounds great too! I complimented it with some simple Walnut binding, a Mahogany neck salvaged from a boat shop and Pistachio from California orchards.

“Dear Aaron and Nicole,

I have been seriously remiss on not sending a thank-you for my wonderful sounding ukulele. I love the way she smells and how she sounds.

This lovely ukulele has already given me hours of pleasure and I feel very lucky indeed to have one of your instruments. I am still thinking on names for my ukulele and when I figure that out I will send for a new tag with her name and number.

My best wishes,
- B.B.”

#831- Maple, Texas Ebony and Rosewood Tenor Banjo

This instrument started life in the 1920’s, probably as a banjo mandolin made in a Chicago factory. I got just the rim in a box of banjo parts from another builder and decided to make a new neck for it. The rim is Maple and Rosewood with a steel or nickel silver tone ring. I added a new skin head, brass tension hoop and brass hardware. I then made a new neck of Maple and Texas Ebony and finished the whole thing in amber shellac to match. It is all carefully done, but looks suitably antique, in my opinion. The neck has a carbon fiber truss rod for stability, geared tuners, a bone nut and a 20” scale.

#834- Maple, Mahogany and Pistachio Short Scale Banjo

My main banjo was the inspiration for this, with a bright sounding maple rim with brass tone ring, balanced out by a lighter weight Mahogany neck. I then stained the woods so they matched and added some fancy Pistachio for the fretboard and trim. This is a short scale (20”) banjo with an 11” rim. Very comfortable and fun to play. Non-steel strings and a Renaissance head for a classic sound. The Maple is from the Carpenter Ant stash and is scrap wood from our kitchen cabinets. The Mahogany is salvaged from my neighbor’s shop, a retired flute maker. The Pistachio is from California orchards.

“Dear Aaron and Nicole-
Just a note of thanks for another fabulous instrument! I’ve been playing clawhammer uke for years, and banjo has always been on my radar. The only deterrent was the length of a full scale, thus when Aaron took the plunge on developing a short scale model, I was all in!
The model itself is an ingenious design; capturing all aspects of true banjo tone while enabling multiple tunings. The neck feels wonderful, and an easier transition from uke than I had ever imagined.
Beansprout instruments are artistic pieces of beauty most appreciated in person vs photographs. I am truly in awe each day I open the case, and can’t stop smiling while playing. Oh what a blast!
Thanks again!
- J. K. ”

#829- Curly Koa Soprano Ukulele

It’s an eternal struggle for me to balance old and new ideas. I love the old Hawaiian instruments, but I also want to improve upon the past and try my own ideas. The Koa soprano is the perfect vehicle for that, as I strive for the vintage sparkle while adding some warmth and sustain. I also tried for that balance with the aesthetics, with traditional rope binding and classic Curly Koa with Pistachio and my modern shapes. The Koa body is from our friend’s sawmill on O’ahu, the Koa neck is from our friend Cath and the Pistachio is from California orchards. In order to pay back for using this Koa, we will donate to plant more trees through Saving Hawaii’s Forests.

“It has arrived. It’s unharmed, it’s gorgeous and it sounds fantastic. It has exactly the sound you were going for—hitting the target perfectly. Not too deep, not too high. Right in the sweet spot, encompassing both.

Aside from the sound being so great, the wood is really amazing. It’s almost like a lenticular photograph, looking different depending on the angle you look at it and the light hitting. From one angle, it looks like it’s made of pretty wood with a lovely, placid grain, but then either you or the light shifts a bit, and suddenly these bold, amazing tiger stripes appear.

It really made me think about the knowledge and instinct that goes into making instruments—of taking different woods with different qualities and bringing them into convergence with well-considered construction techniques to create a particularly sought-after sound. I marvel at the talent.

I remember years ago the late Robert Wheeler, famous for having 300 ukuleles, sat down with me and let me strum different ukuleles, both vintage and new, that he’d selected from his collection. He would tell me the wood used in the construction of a given ukulele, then let me play to hear the sound. Instruments of the same wood sounded different, and sometimes mahogany sounded like koa and koa sounded like mahogany. His point was that it’s more than just the wood. It’s the luthier.

I thought of that lesson while playing this uke. Ukuleles look the same more or less—give or take a fancy grain—and so when a lay person plays one, why ukes that look the same sound different is a mystery. And so, when a ukulele sounds truly wonderful, it seems like magic—as though something special has been instilled in it by a magician. I know it’s actually skill and knowledge and instinct and not magic. But it feels like magic. So I’ll think of it that way. Thanks for the magic, Aaron.

- B. R. ”

#828- Western Red Cedar and Curly Walnut Tenor Ukulele

Cedar and Walnut is a classic combination for us, but the endless variety keeps it fresh. The Walnut for this is from a stump I got from Zena forest products in Salem and milled into parts. It is curly, multi colored and has an asymmetrical inclusion that I love. I chose other parts that referenced that mark, including the streak in the neck blank, the grafted headplate and the unique fretboard. I also chose to accent everything with bright Maple as a nice contrast. The Cedar top is salvaged from wall panels. The Pistachio fretboard/headplate/bridge is from California orchards. The Douglas Fir neck is salvaged from the rebuilding center.

#823- Cherry and Texas Ebony Five String Banjo

This one looks simple at first, but the closer you look, the more you will find. The best example is the sliver of sapwood on the Texas Ebony fretboard, headplate and heel cap. I also find more to listen for as I play it, with little details hiding in the depth of its sound. It has a 12” rim, brass tone ring, synthetic head and non steel strings. The cherry is from the Carpenter Ant stash in Portland and the Texas Ebony is from a retired banjo builder.