#979- Curly Mango Baritone Ukulele

Mango is a great medium density wood, suitable for top, back and sides. It has a similar tone to Koa or Mahogany, but with its own mellow sweetness. It is one of the few tropical woods I use, but only when I salvage it or get it from Hawaii. In the case, the customer (Perry Stauffer) gave me some mid century furniture that they didn’t want. I recognized it as Mango and we sliced it up for ukes! Salvaging wood like this has served me well in the past, but it really is a tremendous amount of labor. I am glad that it yielded some nice wood. Perry is one half of Starlight Ukes and as a duo with Dani Joy. We have known them for a long time and always valued their educational mindset and solid musicianship.

This baritone has a 1/2” nut width and a generous neck shape. It is tuned DGBE and has a K&K pickup installed. Besides the Mango, it has a salvaged Mahogany neck and local Walnut everything else. It has been a lot of fun to play today as I get to know its unique tone. I am happy to make more Mango ukes, don’t hesitate to ask for it when you order.

#978- Mahogany and Walnut Tenor Guitar

This instrument started as a beam of Mahogany that we salvaged from a Tacoma boat shop. It is very similar to the old Mahogany that I see on instruments in the 1920’s-30’s by mainland makers like Martin, Regal and Washburn. It makes for a lightweight and vibrant sound, which goes from mellow and sweet to honking loud with no hesitation. The second wood for this guitar is some local Walnut, harvested by Chris at Yodel Boy Woodworks. The customer asked for a low tuning, GDAD, close to an octave below mandolin tuning. It is simple and attractive, but is not showing off, just the way I like it.

#970- Port Orford Cedar and Walnut Scout Ukulele

These Scout ukuleles are little soprano ukes made from scrap wood. They are based off of the old Lyon & Healy Camp Ukes, made in the 1920’s. They go out to an email list of folks waiting for one. (Join up here info@thebeansprout.com). I haven’t made as many in the last year, but I hope I can get back into it. The Walnut back, sides and binding is from a local tree. The Port Orford Cedar top is from the Oregon coast via woodfromthewest.com. The Douglas Fir neck is scrap wood from an old house. The rest of the wood is Jatoba/Brazillian Cherry, a wood that was imported as a tough flooring product. It is great as a fretboard. Happy Summer!

#973- Cherry Baritone Ukulele

I love building instruments that are close copies of what I have already made. In this case, the customer played Nicole’s uke at music camp and wanted one like it. But, I am a little hampered by the fact that the next two slices off the same board are going to look a bit different. Mother Nature just does what she wants and I follow along behind. Also, I need to have a little room for improvisation when it serves the final design. In this case, I chose a Texas ebony bridge because I really wanted a match to the sapwood on the fretboard and headplate. Also, I fell in love with this Mahogany for the neck and I knew it would look and feel great. In the end, it is close to Nicole’s uke but has a few unique features.

The Cherry for this was harvested by Larry and I from a local orchard. It would have been chipped or burned, so it is nice to save it and make something nice from it. I have more, if anyone is interested. I think it is suitable for top/back/sides, just like Koa, Mango or Mahogany would be.

#974- Cherry and Pistachio Four String Banjo

This scale length (20”) and rim size (11”) has proved very flexible for my customers. Guitar players, uke fanatics, mandolin pickers and more have been able to import their tuning and string material to get what they need. In this case, we have steel strings tuned dgbe, like a baritone ukulele. It is a perfect machine for jug band, blues, folk and fingerpicking, I am really pleased with it. I like Cherry for banjos lately because it is almost as loud as Maple, has long sustain and a slightly dusty growl that is pleasing to the ear. The Cherry for this one is all cabinet making scraps from the Carpenter Ant Stash in Portland and the Pistachio is from California orchards.

#972- Port Orford Cedar and Myrtle Baritone Ukulele

Sometimes I appreciate building something simple, understated and elegant. I like a muted color palette, straight grain wood and a basic design. I think this approach pushes the eye to appreciate smaller details and finer textures; maybe the brain can focus on the music more? This Port Orford Cedar top and Myrtle back and sides are Oregon grown, from woodfromthewest.com. They give a bright, cheerful and resonate tone, all the way up the neck. The neck is Hemlock and the rest of the instrument is Walnut, all from Oregon. The customer asked for GCEA tuning, which takes a special string set. It’s a joy to play, inviting me to keep picking it up and see what music is inside it.

“Aaron and Nicole-
I received my new baritone today and I just tuned it up and I want to thank you again for this very special ukulele! It is light and beautiful with an amazing voice. Aaron you are indeed a master of your craft. On top of that, it has such a beautiful Myrtle wood scent!
- D. F. ”

#975- Walnut and Mesquite Tenor Banjo Ukulele

This is banjo ukulele is a little out of the ordinary, because it has a 10” rim instead of an 8”. Because of the tenor scale length, I think it looks and feels more proportional. It is heavier and more substantial in the lap, but I think it is worth it. The notes don’t seem to be louder than the 8” rim, but do seem to have more air and body behind each note. I really like it. The Mesquite (a N. American native tree) for this build came from a retired banjo builder in Texas. The rest of the instrument is Walnut from my friend on Vashon Island, WA. It has a pickup, an armrest and a goat skin head dyed with homemade walnut shell stain.

#971- Koa and Maple Concert Banjo Ukulele

This one is for me! I wanted something really old timey, that referenced the instruments from 100 years ago, but had modern playability. I started with a thin, laminated Maple rim and added a Koa veneer and some rope binding to it. I made the neck out of Maple, with a Koa fretboard/headplate with a herringbone stripe down the middle. I finished it in amber shellac, added a goat skin head and a K&K pickup, just in time for the first gig of the summer! It is lightweight, cheerful and loud!!!!

#965- Redwood and Walnut Tenor Guitar

These tenor guitars continue to inspire and surprise me. They sound a little bit like a banjo, a guitar, a uke and a dulcimer. One part of me wants to make them more “normal” but the rest of me is embracing this strangeness. The starting point was an old Regal from the 1920’s, but we are on to something else now. The Redwood top was salvaged by Chris Riedl from a beach in Oregon. The Walnut back and sides are from a Parkdale, OR tree that I also got from Chris. The Mahogany neck is a scrap from a cabinet maker’s shop. The Pistachio fretboard and headplate are from California orchards.

It has four steel strings, tuned dgbd, with a floating bridge and a mandolin style brass tailpiece. Geared tuners, bone nut/saddle and a K&K pickup.

#968- Walnut and Pistachio Short Scale Five String Banjo

This model has become very comfortable for me to play, as I think the balance, weight and shorter neck are just more comfortable than my “big” banjos. I don’t know when I’ll find time to make one for myself, but I am looking forward to it. This one sounds rich and dark, with good volume and a round, plunky tone. The Walnut comes from Cath’s shop on Vashon Island and the Pistachio is from California Orchards. It has a synthetic head, non-steel strings and a comfortable brass arm rest. A humble musical companion that I would happily sit on the back porch with, any day.

#967- Clockmaker's Koa Concert Banjo Ukulele

The “normal” wood for a banjo uke is maple, which has a bright and loud sound. Over the years I have experimented with many woods and found success with woods that aren’t as bright as maple but have a cheerful and loud sound. Koa is my favorite of these at the moment. This stash of Koa comes from Lizann’s grandfather, who built clocks with this wood. I was able to find some nice curly stuff for the rim and strong straight grain wood for the neck. I was even able to use Koa for the fretboard, headplate and bridge. I will donate to plant trees in Hawaii through Saving Hawaii’s Forests to show my thanks for the privilege of working with this wood.

#962- Cedar and Myrtle Kingdom Era Tenor Ukulele

As I work on the Kingdom Era instruments, my connection to them grows richer and deeper. I enjoy the process more and I slow down a bit to savor the time spent open the hand tool work. I also think they are sounding better and looking cleaner as I improve. I am very thankful for the customers who have taken a leap by ordering one of these, I really appreciate it. This instrument is a four string tenor ukulele with a body shape based off traditional Hawaiian rajaos from the 1890’s. It is modernized a bit with a radiused fretboard, geared tuners, fluorocarbon strings, bone nut and saddle and wooden strap buttons. The customer added the handmade wooden case, made of Western Red Cedar scrap wood and kapa style cloth. The Myrtle comes from the Oregon coast, via woodfromthewest.com. The Cedar was harvested by luthier Jayson Bowerman near Bend, OR. The Walnut is a local tree I milled. It is wrapped up in shop made Walnut and Maple rope binding. This ukulele is for a very kind customer whose 3 grandparents immigrated from Madeira- such a special connection.

I look forward to more of these this year, thanks for your support!

“Hi Aaron and Nicole,

I’m in love! Thank you!

First, I was genuinely surprised by how much I adore the cedar case and the ukulele in person. My partner thinks they look great too, in particular the uke of course. It’s more special than I even expected, and I am already feeling connected to it. Love the shape, build, lightness, responsiveness, roping, etc. It’s beautiful in every way and feels so special in my hands. I think my grandma Tilly (Matilda Pontes who immigrated from Madeira and who I grew up with) approves! I feel it. And I’ve been playing it looking at the cedar trees in my back yard, feeling connected that way too.

...I’ve never played something so light and responsive. I love what I hear as a more open, woody, folky sound with lots of subtle, pleasing overtones. It’s whole new world for me, and feels quite different to play. It sounds really nice both finger picking and clawhammer: I think it’s great as a high G use.

It’ll be fun to share with my friends at the Bellingham Ukulele Group’s jam next Saturday!

With appreciation and copious gratitude for your art and passion,

-M.G.
”

#964- Curly Walnut and Pistachio Mini Five String Banjo

I love this mini five string as the perfect couch and travel banjo. With this string set we can get the lower open g tuning of a big banjo, but with a short 17” scale. Thanks to all of you who have ordered over the years, we really made something out of nothing. This reddish curly Walnut comes from a Hood River tree that I milled. The Pistachio comes from California orchards. It sounds dark, rich and vibrant with lots of volume for a little instrument. Cheers Alex!

“This is definitely going to be my most played banjo! It’s absolutely gorgeous to look at, it plays beautifully, and that curly walnut even smells amazing! Aaron and Nicole did an incredible job and were so great to work with. My mini 5-string is such a fun addition to my collection and is going to be my workhorse from here on out whether playing on the couch or sitting outside.
If you’re on the fence, just go ahead and do it! These instruments are incredible and Aaron and Nicole are incredible craftsmen. Thank you, Nicole and Aaron for the great new addition and for the great experience!
-A. D. ”

#947- Redwood and Salvaged Mahogany Tenor Ukulele

This is a builder’s choice instrument that I will be selling at the Port Townsend Ukulele Festival this weekend. If it is available after that, it will be on our site. The top is some beautiful Redwood from woodfromthewest.com, with s sweet, focused and powerful sound. I think Redwood is somewhere between Cedar and Spruce for volume and tone. The back, sides and neck are some Mahogany salvaged from a cabinet shop. It has long been a top choice for American guitar/ukulele builders for its strength, light weight, easy workability and beautiful color. I don’t buy any new tropical woods, of course, I only use Mahogany when I can scavenge it. The rest of the uke is some light colored Cherry from a local orchard. It will darken over time to a butterscotch color. Note the ombre purfling inside the Cherry binding, fancy!

#948- Cedar Cigar Box Ukulele

This instrument was inspired by the cigar box ukuleles that Sam Kamaka made in the 1940’s-50’s. I hunted down the same brand of cigar box and was happy to see that it was nicely made of Western Red Cedar. Sadly, the top on mine was broken, so I made a new Cedar top but put the hinges and tax sticker back on. I made a simple neck and fretboard out of Cypress and Oak and added geared tuners, fluorocarbon strings, strap buttons and bone nut and saddle. The sound is loud and dusty, with a big personality for its soprano size.

#963- Spruce and Curly Cherry Tenor Ukulele

This instrument is for a student that we met last summer in England while teaching at the Forest Ukulele Retreat. He also is a woodworker and loves using American Cherry, so we selected this back and sides to honor that. The Cherry is a scrap from the Carpenter Ant Stash in Portland and is likely leftover from a cabinet making job. The Spruce top gives a powerful and articulate voice. It was milled from a drift log by guitar maker Craig Wilson’s father. The rest is local curly Walnut, which gives a contrast to the lighter woods.
Cheers, John!

#958- Clockmaker's Koa Tenor Guitar

This guitar is for Lizann, whose father and grandfather’s shop and wood stash we have been cleaning out for several years. Every piece of wood on this guitar comes from her! The Koa is from a unit of wood her grandfather bought to make clocks from. The Wenge is a hard and dark tropical wood that is well suited for fretboards and trim. The neck is some Mahogany and Maple scraps. I really like the sound of this instrument, mellow but articulate. I also really liked how the sprout inlay worked out for the headstock. Thanks Lizann!

“Upon opening the case of my Beansprout Tenor Guitar the first thing I noticed was the scent of the wood (heavenly), and then I was drawn to the beauty of the instrument.

When I picked it up I was amazed to notice all the details - the Koa with sapwood, the inlay, the tuners, the tailpiece, the binding and more. I began to softly strum and play a few chords.

This tenor guitar is like no other instrument I have ever owned. The sound is so unique and it’s easy to play. The sound and vibrations in my body made me feel blessed to own it and eager to play it and explore all the nuances possible.

Aaron has crafted an heirloom instrument for me, and it will be passed down through the generations of my family because of the wood that belonged to my grandfather and my father. An heirloom also because it was crafted with such love and skill by a master who cares about every aspect of the instrument and the person who will receive the gift of a Beansprout instrument.

I couldn’t be more pleased with this Beansprout Tenor Guitar and the craftsmanship, design, precision and love that went into the making of thisbeautiful instrument filled with so much sentimental meaning. Thanks Aaron and Nicole for making this dream come true for me.
- L. S. ”

#961- Curly Koa Mini Five String Banjo

It is always a challenge to build a second instrument for a customer. Even though I have a standard way to do everything and use jigs and templates, there is always some variation in my work due to its handmade nature. But, it is a great challenge/problem to have, so I remain grateful for the chance. This mini banjo is Koa from Lizann’s grandfather, who bought it to make clocks, so I call it Clockmaker’s Koa. The Pistachio is from California orchards. The customer wanted a small wave inlaid on the headstock, so I chose a piece of spalted Maple that reminded me of the sea shore. I let mother nature do the hard work, it didn’t need to be burned or engraved. It has been a fun banjo for me to play this week as the smaller size is a modest workout for my hands.

“I love it. The banjo looks, feels and sounds amazing. It is beautiful.

- D.M.”

#959- Mahogany Scout Ukulele

When I was planning this instrument, I enjoyed the contrast between the three different woods. But during the sanding process, I felt that it would be better with some stain to tie it all together. I like to sand back and rub a stain like this so that it has some variation to the sheen, especially around the edges. The body is Honduras Mahogany scraps from a boat builder. The neck is Alaskan Yellow Cedar from a flute maker. The rest is some local Walnut. It is off to our Scout email list. Want to get in line? Email us, info@thebeansprout.com.

“Received. Great, fun ukulele.
Great quality.
- J. L. ”

#946- Fir and Koa Kingdom Era Soprano Ukulele

This is one of my ukes inspired by my research into the instruments made in the 1890’s by the first three ukulele builders in Hawaii. I haven’t copied one builder, but instead drew inspiration from all three to design my own model. Like the originals, it is made entirely of Fir and Koa, except for the rope binding, which is Maple and Walnut. In order for it to be more useful for modern players, it has geared tuners, a radiused fretboard, strap buttons and fluorocarbon strings. It lives in a handmade Mahogany case with Kapa cloth lining. The sound is bright and cheerful, with nice sustain for a soprano. I look forward to more of these this year. In order to payback for the use of this Hawaiian Koa wood, I will donate to the Hawaii Foodbank.