#921- Curly Cherry and Pistachio Five String Banjo

This is the last instrument before my hand surgery break and it feels good to end on a high note. This banjo is lightweight but solid, loud but sweet and easy to play. No tone ring, just a wooden rim with goat skin head and non steel strings. A really great combo that I have really enjoyed playing lately. The Cherry comes from the Carpenter Ant stash in Portland, originally milled for grandfather clocks. The dark, grafted Pistachio is from California Orchards. Cheers Ben- it was great to meet you in England!

I’ll resume building in September- see you folks then!

#918- Mastergrade Myrtle Tenor Guitar

For many years, I milled all my boards into ukulele sized pieces. Now, I try to save some larger pieces for future tenor guitars and guitars. Those of you who have been following for a while know that I almost never buy wood, I mainly salvage and harvest it myself. Myrtle is one of the only woods that I usually have to buy, in this case from Edensaw in Port Townsend. It not only looks amazing, but it sounds crisp, cheerful and balanced. I would definitely use this again for a tenor guitar or uke. I am pleased to say that I might have found a replacement for the Texas Ebony that I ran out of. This fretboard/headplate is Wenge, an African wood that I salvaged from the Carpenter Ant stash in Portland. It is very stiff and dense, which is good for fretboards. After sanding and finishing, it has a cool open pored texture that I really like.

#920- Walnut and Pistachio Five String Banjo

I love all the woods that I use, but it feels great coming back to Walnut for banjos. This one is as loud and detailed as any banjo I’ve built, but with a gritty darkness that also appeals to me. The rim is a 12” Walnut block rim with Pistachio rim cap and brass tone ring. The neck is Walnut and Maple with a grafted Pistachio fretboard. I also love the little Maple dragonfly we inlaid in the headstock. It has steel strings, a Renaissance head and brass arm rest. The Walnut is all from a local tree that I milled, the Pistachio is from California orchards.

#919- Mastergrade Myrtle Baritone Ukulele

The all Myrtle baritone is a classic for me, stretching all the way back to my Mya-Moe days. I am always happy to make another in this tradition. The Myrtle for #919 was from a Portland tree, harvested by David from Epilogue Lumber. I love the dark mineral streaks in the light colored Myrtle and I have more of it, if you want a similar instrument. Even the fretboard, headplate and bridge are Myrtle. I chose a simple salvaged African Mahogany neck as a nice contrast. It sounds rich, dark and complex, with plenty of sparkle to top it off.

“Dear Nicole & Aaron -

Only after a few months of receiving my ukulele have I finally found the time to sit down and write to you to express my gratitude for an instrument that I will always cherish. I chose Beansprout because your instruments speak to the type of older American music that I enjoy playing the most. The first song I played on it was TENNESSEE WALTZ. Thank you for your excellent communication and craftsmanship. You are very much appreciated.
- J. W. ”

#922- Mastergrade Myrtle Alto Ukulele

This little gem is for a repeat customer who normally plays sopranos. I am sure they will take to the slightly larger size and deeper tone of this one quickly. It is so lightweight, easy to play and charming that I can’t put it down. The Myrtle was a gift from Char at Mya-Moe before she retired. The Fir neck is salvaged from a floor joist. The rest is Pistachio from California Orchards. Note the subtle Myrtle binding on the Myrtle body. Also, there are three less frets, which makes for a clean look. Thanks Jodie!

“Dear Aaron and Nicole-

My instrument arrived earlier this week, and I’ve been having the ultimate blast getting to know it. Although I typically play sopranos, I will definitely fancy the larger scale for specific projects. This uke has it all; tonality, aesthetics, and the perfect neck. I am over the moon! And, as with all of my Beansprouts, I look forward to hearing the tonal richness grow as the instrument ages. Thank you for everything; your kindness, attention to your craft, and all that you do! Best wishes!
- J. K. ”

#915- Cypress and Ambrosia Maple Alto Ukulele

One of my favorite ways to design an instrument is to start with one piece of wood and let everything else grow from there. In this case, it was a beautiful piece of Ambrosia Maple from the Carpenter Ant stash in Portland. It is dotted with beetle holes and streaked with rainbow colors due to a fungus. This led me to chose a top wood with a similar color palette, a stump that I got from Trout Lake that I was told was Port Orford Cedar. After splitting, milling, drying and working with it, I don’t think it is POC, but a close relative of it in the same Cypress family. Without a DNA test, I can’t prove it, so I guess I’ll just call it Cypress. The neck is beetle kill Ponderosa Pine from my firewood pile. As our climate in the NW gets hotter and drier, many trees succumb to pests, shortening their lives. It takes extra work to use these woods due to all the “flaws” that need to be dealt with, but I love it anyway. The sound of this one is crisp, vibrant and energetic, I hope to use more of this top wood in the future.

“Just wanted to let you know that my uke arrived yesterday safe and sound.
I love it! It’s loud and bright and has such a punchy sound! And so beautiful! The Ambrosia maple is so pretty!
I took it to a jam tonight and I couldn’t believe how loud it was. I could hear it even with 8 guitars and a mandolin playing.
Thanks for building me such a wonderful instrument!
- B. H.”

#914- Spruce and Curly Red Oak Tenor Guitar

I’m really embracing the uniqueness of this tenor guitar design. It sounds a little like a banjo, but also a guitar, a dulcimer and ukulele all at the same time. The ladder braced Spruce is bright and detailed and the curly Oak back and sides reflect the sound well. Luthier Craig Wilson passed on the the Sitka Spruce top to me- it was cut by his father. The curly Red Oak back and sides are from the Carpenter Ant stash in Portland. The Mahogany and Walnut neck is made from scraps from a cabinet shop. The rest is Pistachio from California orchards. Cheers Steve!

#917- Walnut Mosaic Short Scale Banjo

The rim for this banjo is what I call a Mosaic rim, made up of leftover blocks from a few years of banjo building. I bet it has 6-8 different woods in it. The neck is some straight grain Walnut from our friend on Vashon Island and the rest is Pistachio from California orchards. Non steel strings, goat skin head, brass tone ring and a brass arm rest to make it comfortable. A great combination of features for a loud, rich and pleasing sound. The nut width is 1 3/8”, which I find much easier to play than the narrower ones on vintage banjos. Happy plucking!

#916- Cherry, Maple and Pistachio Short Scale Banjo

This customer wanted a lightweight, easily playable banjo with a vintage sound. We chose to use less brass hardware and a short scale neck to lighten it up. The goatskin head and non steel strings helped to get the vibe too. The dark stain, Walnut shell dyed head and patinated brass hardware seal the deal. It has a Maple rim, Cherry neck from the Carpenter Ant stash and Pistachio from California orchards for everything else. Cheers, Sara!

“Hello Aaron and Nicole,

I just got my banjo and I wanted to just say again, thank ya’ll SO MUCH! I swear Aaron you are a wizard. It has such a deep, resonant sound especially for its size. It is so comfortable to play. And your detail work of the tailpiece and the stain finish and the hand dyed head. Really knocked it out of the park. Also, the handwritten note telling me what the banjo is made from and the beautiful hardcase. Perfection, really.

- S. S.”

#913- Mahogany Tenor Guitar

This sort of classic look is my favorite for my tenor guitars. Mahogany with rope binding and a simple Pistachio fretboard does the trick. It has a 21.5” scale length, which is designed for higher tunings, but again we were able to use GDAE with no problems. It has a lot of bass for such a small guitar. The Mahogany is all scraps from a retired cabinet maker. The Pistachio is from California orchards.

#911- Spruce and Maple Baritone Ukulele

When selecting wood for an instrument, I often find one piece that inspires me and then I use it as a starting point for the build. The next pieces start to fall into place as move around the shop in an improvisational way. For this instrument, it was the bug hole Maple I got from luthier Ben Bonham. It has these dark, streaky ant holes that add a lot of character to the blonde Maple. Every other piece of wood supports that choice, either blending into the color palette or offering a bit of contrast. The Spruce top is from British Columbia, salvaged by luthier Craig Wilson’s father. The neck is some Sapele/African Mahogany that I salvaged from a beam. The fretboard/headplate/bridge is Texas Ebony, from a retired banjo builder. The trim is some local Walnut. I think this ukulele sounds bright, clear and precise with easy playability. Cheers Andy!

#910- Redwood and Curly Walnut Baritone Ukulele

Redwood and Walnut is such a great combo. Plenty loud, but dark, rich and warm too. I think the Redwood gives it a little more dry snap than Cedar does. As I play #910, the whole thing jumps around in my lap, vibrating with each note. I am really pleased with it. The Redwood is salvaged from a boat shop in Tacoma. The Curly Walnut is from southern Oregon and the Pistachio is from California orchards, both via woodfromthewest.com. The neck is Sapele, salvaged from a beam. A wider nut and a leaf inlay give it some personality. I have more Redwood and Walnut that matches, drop me a line if you would like to order an instrument like this.

“Hello Aaron & Nicole,
Dropping by here to let you know I received my beautiful baritone ukulele last night. I’m over-the-moon thrilled with the sound and look of it. It’s truly a piece of art and fine craftsmanship that really sings when I play it…so much so that we’ve been inseparable ever since.

Thank you so much for my baritone and all that you and Nicole do!

Yours happily strumming,
- C.S.”

#901- Cedar and Oak Baritone Ukulele

I sold my own baritone ukulele this spring at a music camp and had to build a new one in time to go on tour to England this summer. It has a Cedar top that I milled from a log from Parkdale, OR. I love the grain and color in it. The back and sides are quarter sawn white Oak from the Carpenter Ant stash in Portland. The neck is African Mahogany from a salvaged beam. The rest is local Walnut. I added an over sized rope rosette and a little leaf in the headstock. Just in time for rehearsals!

#909- Juniper and Spalted Maple Tenor Ukulele

I really love a project where we get to celebrate the wild and natural features of real trees. A little bit of rot, a nice knot, some compression curl or a unique texture are all reminders that you are holding a handmade object made from natural materials. This Juniper top is from eastern Oregon from our friend Chris at Yodel Boy Woodworks. The spalted Maple back and sides are from Libby near Anacortes, WA. The Fir neck is salvaged from an old house. The rest is local Walnut that I milled. It has a low g, a little bird’s foot purfling and an inlaid and wood burned sun in the headstock. A real pleasure, I can’t wait for Jen to come pick it up!

“Dear Aaron and Nicole,

What a gift it was to go and pick up my new ukulele in person. To get to see where all the magic takes place and witness the depth of intention, creativity, passion, and mastery just adds to the beauty I see and the joy I feel when I play my sunny new ukulele. It has such a light and sweet tone, plays so easily, and sounds so clear and resonant – I’m completely smitten.
- J. B. ”

#903- Figured Koa Tenor Guitar

I have used Mahogany for a few tenor guitars now and have been wanting to make a Koa one. I remember a vintage Weissenborn Koa tenor guitar that I saw some photos of, which inspired me to make this one. The Koa for this project is all Clockmaker’s Koa from the Carpenter Ant stash in Portland. I didn’t expect it to be so fancy, but it did not disappoint. It has a few bug holes and bark inclusions in the sapwood that I filled, reminding us of its life as a tree. The rest of the instrument is curly Maple, which is a good partner for the sapwood. It has steel strings and is tuned DGBE with a sweet and direct tone. It has ladder bracing and responds to the lightest touch. I am very proud of it. As with all my Koa instruments, I will donate to plant more Koa trees here.

#904- Cherry and Texas Ebony Short Scale Five String Banjo

This is for our good friend Marianne, who has been playing ukulele for many years, but has recently been studying the banjo. We tried a larger banjo for her a few years ago but it didn’t stick. She recently played one of my short scale banjos and she was sold! The main wood is Cherry, salvaged from the Carpenter Ant stash in Portland. The second wood is Texas Ebony, which I bought from a retired banjo builder. The 11” Cherry rim has no metal tong ring, which makes for a lighter banjo and a woody sound. She added a goat skin head for an earthy tone and a brass arm rest for comfort. The vintage Hawaiian shaped headstock was a good choice for the custom inlay. Thanks for all of your support, Marianne!

#907- Spruce and Cherry Tenor Ukulele

I think that my instruments fill an important niche. They are loud enough to get along with other instrument at a jam session like guitars and banjos, but still have rich tone and long sustain. I think it might be because of my many years of playing in string bands and acoustic jams where I want to be heard but not be obnoxious (even though I like banjo ukes!). This combo of Spruce and Cherry is just the thing. The top and back panels are one solid piece instead of the more common book match. It’s hard to find wide enough boards for this, but I have a stash, of course. The Spruce is from British Columbia, harvested as a drift log by luthier Craig Wilson’s dad. The back and sides are from the Carpenter Ant stash in Portland. The salvaged Fir neck is from old floor joists. All the Walnut trim is from a local tree that I milled. The dark Pistachio fretboard/headplate/bridge are from California orchards. It has a K&K pickup and a low g, ready for fun!

#905- Koa and Pistachio Mini Five String Banjo

Banjos are typicallyt made from domestic hardwoods like Maple and Walnut, however, I have made a few from Koa now and I am really pleased with them. I’m lucky to have some flat and rift sawn Koa boards that were imported in the 1960’s for making clock cases. They wouldn’t work to resaw for ukuleles, but they are great for banjos. Koa makes a sweeter and softer sound than maple and I hope I get to make more like this. The Pistachio fretboard and trim makes a nice contrast and comes from California orchards. This has an arm rest and a pickup added, tuned to open g. Cheers!

“I received 905 and it is simply amazing! Thank you so much for making this work of art.
- D. M. ”

#906- Mesquite, Texas Ebony and Mosaic Mini Five String Banjo

Every time I make a banjo rim, I save the extra rim segments so that I can eventually combine them all to make what I call a mosaic rim. I think this one has 6-7 different kinds of wood in it. I paired this rim with a Mesquite and Texas Ebony neck, both of which are domestic hardwoods that I got from a retired builder. It has a goat skin head, brass arm rest and is tuned to open G with non-steel strings. It’s a vibrant and charming little banjo. This instrument is a very special present from a father to his daughter who is about to turn 11. Happy Birthday T !

#902- Redwood and Spalted Maple Alto Ukulele

Diane asked for a ukulele that looked and sounded like autumn. To me, that means dark, rich, comfortable but with a hint of a chill. I chose Redwood from the top, salvaged from a driftwood log. The spalted Maple back and sides are from our friend Libby’s land near Anacortes, WA. The spalting is the start of a fungus, changing the wood back into compost. The trick is to catch it and dry it out before the wood becomes unstable. For the fretboard/headplate/bridge, I chose some Ambrosia Maple, which has bug holes from a beetle that causes the tree to make rainbow streaks through the wood. Im happy with how it turned out, with easy playability and a complex tone. Thanks Diane!

“Aaron and Nicole,

Just a note to let you know, the new Queen 👑 has arrived safely from her cross-country journey with UPS. Light, smooth and silky to the touch, that new wood scent, striking fall colors that delight the eye - “the beauty of rot and decay” as eloquently described by Aaron. A clear, mature voice, sweetly lingering on each note… Bug holes! Love it all!

The whole process of ordering, choosing woods, updates, has been a delightful experience.

Thank you so much!
- D. G. ”