#926 Myrtle Tenor Ukulele

All Myrtle tenor ukes are a standard item around here and have been for a long time. Using one wood for top, back and sides gives a classic ukulele sound, but the Myrtle helps us stand out from all the Koa and Mahogany out there. This one is rich, deep and vibrant with plenty of volume. The 1.5” nut width gives extra room for the fingers. The Myrtle is from the Carpenter Ant Stash in Portland, the Walnut is from a Hood River tree that I milled and the Port Orford Cedar in the neck was from my neighbor, a retired flute maker.

#924- Port Orford Cedar and Myrtle Baritone Ukulele

This is the perfect instrument to end summer with and get ready for autumn. It sounds, looks, feels and smells green and vibrant to me, in the best possible way. Fine grain Port Orford Cedar top and striped Myrtle back and sides, both from the Oregon coast. The Pistachio fretboard and headplate match the color palette and come from California orchards. All of these are from Kevin over at woodfromthewest.com. The neck is Alder and Walnut from the Carpenter Ant stash in Portland. It feels great to make an instrument from local woods with a loud, bright sound. This one really sings.

“Hi Aaron and Nicole,
I’ve had 924 for a week now and it’s great! Such a crisp and woody sound. Gorgeous to look at too. It inspired me to learn Caravan - halfway there!

Thanks for everything,
- C.H.”

Chris plays part of “Caravan” on his new Beansprout!

#925-Curly Walnut Tenor Banjo Ukulele

I’ve made a handful of these tenor scale banjo uses with a 10” instead of 8” pot in the last few years. I really like them, even with their larger size and heavier weight. I think they have a richer tone that has a breathy quality, like there is more air behind each note. This one is made all from local curly Walnut with a goat skin head, pickup, arm rest and custom inlay. I am very proud of it and look forward to making more. This banjo ukulele is for a very special gift and we really hope the recipient enjoys it!

#923- Curly Koa Kingdom Era Soprano Ukulele

This is the first customer ordered instrument in my Kingdom Era series, based off my research into ukuleles built in the 1890’s. The whole instrument is Koa, some from my friend Cath and some from sawyer Bart Potter from Oahu. The binding is shop made rope in a random pattern of Maple, Walnut, Cherry and Oak. It has Peghed brand geared tuners that look like violin pegs but have gears inside. I made the rest of the fittings out of Ebony to match. The customer requested gut strings, like the originals used. It think they sound rich and charming, though a little quieter than modern strings. As always, I will donate to a non-profit in Hawaii to say thanks for the Koa and the access to this cultural history. This time it will be to the Kealakai Center for Pacific Strings.

#912- Curly Mango and Walnut Alto Ukulele

This is another stock instrument that I started months ago and left to finish for this month during my "resting" time after surgery. It started as a piece of Mango furniture that our friends Dani and Perry gave us. It was dramatically curly but also full of cracks and knots. I think I was able to get some really nice pieces from it, worthy of a second life as a musical instrument. Mango sounds rich, sweet and tropical to me, which is a refreshing departure from other wood combos I've been using lately. The secondary wood is local Walnut that I harvested, which is a nice contrast to the glowing Mango. It has fluorocarbon strings, bone nut/saddle, radiused fretboard and geared Peghed brand tuners. The finish is thin and natural, allowing the textures of the different woods to be felt. It comes with a hardshell case and is available for $1600 plus shipping.

***** 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! ******

#900- Hemlock and Myrtle Tenor Ukulele

This project started when my friend Hunter dropped off some scraps from a trim carpentry shop he was working at. It was old growth, quarter sawn Hemlock, but it had been torrefied to make it resistant to moisture and bugs. Torrefied wood is cooked in a special kiln, which dries it out and changes its cell structure. I don’t fully understand the science, but I know several luthiers using torrefied spruce and maple with good results. I sawed one of the boards into tops and decided to try it out. I paired it with some very curly Myrtle from the Oregon coast, some local Walnut and a salvaged Fir neck. I like how the Hemlock is darker than normal, almost the color of Cedar. It sounds warm and rich with full sustain, but a nice bright edge to it. I look forward to working with it again. This Uke is off to our friend Billy in the UK.

“Hi Aaron and Nicole.
I just wanted to thank you properly for the beautiful ukulele. I have had a chance to play her a bit now and I think she is the nicest so far! I love the rich tone but the torrified hemlock also has a crispness which you said it would have. Truly beautiful instrument again!
The Ver Players had our Beatles gig last Saturday and I played the new uke for two numbers.
Thanks again and keep up the good work. Love from us both.
- B.P. ”

#893- Yellow Cedar and Japanese Elm Soprano Ukulele

This stock instrument has been in the works for several months, inching its way to completion like a seedling reaching for the sun. I started with some Japanese Elm/Zelkova that Chris Riedl harvested from the Japanese Gardens in Portland for the back and sides. I chose the design of the rest of the instrument based on the Japanese aesthetic concepts of Shibui (subtle, simple, playful) and Wabi-Sabi (imperfect, natural, rustic). I chose yellow Cedar for the top and neck, as it is closely related to the Japanese yellow Cedar that temples are often built from. The rest is Pistachio from California orchards, offering a wild, natural look and color palette. It is loud and sweet, with good sustain for a soprano. The finish is thin and natural, allowing the textures of the different woods to be felt.

#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!