#937- Mastergrade Myrtle Tenor Ukulele

We have become well known for using woods from the west coast over the years and this one is a great example. The body is made of some wispy, feather figured Myrtle that I got from luthier Jayson Bowerman. Myrtle only grows in a small part of Oregon and California. It even has some filled tracks from some insects that were in the tree, which adds to its organic charm. The Pistachio for the fretboard/headplate is from California orchards. The neck is Port Orford Cedar and Walnut, both local woods for us. This ukulele is lightweight, resonant and easy to play. It is a good example of why I call Myrtle “Oregon’s Koa!”

#938- Redwood and Maple Tenor Guitar

This instrument was a fun study in contrasts for me, both in the visual and sonic sense. Redwood has a deep, resonant tone with a bit of a dusty edge, while a Maple back and sides is vibrant and sweet. The combo is a little of all that, with either quality coming through depending on how hard you pick the string. The color palette also features a lot of contrast between the deep red of Redwood and the amber of the Maple. I played with that by using a crazy Pistachio fretboard and headplate which draws from both ends of the color spectrum. The curly Maple binding with black decorative veneers made a nice border around everything. The Redwood was salvaged from a Tacoma boat shop. The Maple was a local tree, milled by Chris at Yodel Boy Woodworks. The Pistachio is from California orchards. The Fir neck is salvaged from a floor joist.

#936- Port Orford Cedar and Walnut Alto Ukulele

Port Orford Cedar and Walnut is a classic combo for us. Bright and cheerful, but nice sustain and warmth. I also appreciate the wide dynamic range. The POC top and the Pistachio fretboard/headplate come from Kevin at woodfromthewest.com. The Walnut back and sides are from a Hood River tree we milled. The Cypress neck is salvaged from a factory tank. This ukulele is light, easy to play and very charming!

#935- Curly Port Orford Cedar and Cherry Tenor Ukulele

Port Orford Cedar is such a good top wood: clean, crisp, loud and rich. It’s even better when it has this extremely curly figuring. The back and sides are some Cherry I salvaged from a cabinet shop with tiny little flecks in it. My friend called it hummingbird’s eye cherry. I paired it with a POC neck and grafted Pistachio fretboard/headplate/bridge and simple Walnut binding. The Pistachio and POC is from Kevin at woodfromthewest.com. Thanks for the order Tom, happy playing!

#934- Curly Koa Kingdom Era Tenor Ukulele

Here’s a tenor ukulele with a body based on old rajao from the Bishop Museum and the collection of Shawn Yacavone. The rajao was a Portuguese instrument that came to Hawaii and served as an ancestor to the ukulele. Most were five strings, which I have built in the past, but I felt it would also be a good size for a four string tenor uke. In this case, it is strung gcea with a low g. The body is Koa, as is the fretboard, headplate and bridge. The neck is salvaged Cypress from a factory and the rest is shop made rope binding of Maple and Walnut. Even though it looks antique, it has geared tuners, bone nut and saddle, radiused fretboard and modern strings. I am really pleased with the sound, which has a vintage sparkle but plenty of warmth and sustain. Cheers Dave!

#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!