OLFers,
I've been reading this forum for a couple of years. I used to be a lurker, but
have gradually felt more comfortable about posting as I have made progress
and built a couple of instruments.
I'm one of those ex-high tech types who came into this craft with little
knowledge or experience in precision wood-working. My previous
acme of achievement was a picnic table built with a circular saw and
hand-held drill. I seriously thought chisels were always used in
conjunction with a hammer.
Everything I know I've learned from back issues of American Lutherie,
Cumpiano and Natelson, MIMF, and especially, from this forum. To this day,
I've never met or spoken with another guitar-maker, professional or
hobbyist.
My first build was from the Scott Antes parlor plan. It is now safely hidden away
minus the tuners and bridge, which I "harvested" for re-use. Suffice it to say that
I learned a tremendous amount building jigs and working on this instrument. Perhaps
its just as well that I messed up the bridge placement: the top was too thin and I overbuilt
the already over-braced design.
For number two, I worked off of Michael Payne's SJ plan that many of us here have used.
The result was vastly better. My neck shaping was sub-optimal and my fret work
still poor, but it sounds good to me and has become my main playing instrument.
After that, I decided to build a tenor ukulele. I mostly completed it a couple of months
ago (I'm waiting to get a fret barber from StewMac to do the frets above the 12th fret;
I'm too chicken to hammer on the body and plan to super-glue in the high frets).
The backs and sides are "ribbon figure" grade (i.e., the cheapest) Oregon Myrtle and
the top is an A grade (ditto) Port Orford Cedar soundboard, both from Dave Maize.
I used a B grade Spanish Cedar neck blank. The binding is "stealth binding" (TM of Heshtone
Guitars) from offcuts from the sides. I had intended to use curly maple binding to match the
piece I glued in when joining the back, but I bet you can guess what caused the
change in plans. The finish is hand-applied shellac (I'll call it French Polish when I get
better. Instead of buffing, I used Novus #2 plastic polish.
Oh, and the bridge and fingerboard are Bubinga, from Hana Lima.
I mostly used the GAL plan, but as its more descriptive than normative, I built it
significantly lighter than that plan shows.
I really like it. It has a sweet tone and long sustain. The cedar top definitely gives it
a different sound than the traditional all-Koa uke.
(Note: In the first photo, its propped up against a 60-year old Japanese persimmon tree
in my back yard. If that tree ever dies, I'm going to make fingerboards out of it!)
Attachment:
uke_pers.jpg
Attachment:
uke_back.jpg
I'm finally getting around to posting this today as an avoidance technique to keep
from freaking out about happenings in the scary outside world. I'm definitely not
looking for a bunch of kudos replies; I'm quite aware of where I am on the learning
curve and I definitely still have a lot of work to do to even approach the median level
of competence of builders who show their work here.
But I do want to show fellow newbies out there that this can be done. And thanks again
to Lance and Brock for establishing and managing this forum.
Oh, and someone was posting about ukuleles again today.
Cheers,
Eric
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