This is the other Tenor ukulele that I recently completed - also hanging in the photo of me "spraying" on the roof posted a while back.
This was not a commission, but built at the same time to make the most of jig setup times etc. So this one is an exotic concoction, predominantly Ziricote - back and sides, fretboard, headstock veneer front and back and binding. The top is of sitka spruce with an Amboyna burl rosette, while the neck is very old honduran mahogany. The bridge was some of the very old brazilian I had, chosen for its ideal weight. More basic ornamentation with single line maple purfling and 12th fret inlay; a relief signature and a relief logo.
Interesting to me to compare the two instruments - both were built in the same fashion, that is, both had three fan braces of the same dimensions, two transverse and a bridge plate. Each was carved individually of course, but this was an interesting exercise. The Ziricote and Sitka was bright and very lively from start to finish, throughout all stages of the build, the plate, the rims, the box etc. The maple and Engleman unit was also, but not to the same extent and I had to work the top more thinly to "lively" it up. The finished products to my ears followed suit - the Ziricote was loud and responsive from get go. The maple was good too, but subtly different and a little less in your face. The maple however improved over the week post string up, to when it was dispatched to the customer. The Ziricote did not change notably to my ears. Can't pinpoint why aside from the differing materials to begin with. It will therefore be interesting in future to take some measurable tests of base materials, along the lines of the Gore/Gilet books, to understand how to adapt the builds for a more standardized result in my future ukuleles. I preferred the tone from the Ziricote personally, but this is subjective - although Trevor Gore may disagree with that sentiment! It appears good sound is not as subjective as we may think...
Here it is.
Jeremy.
