5 String Concert Ukulele

[Allen]

This one is a special order by my mate Bosko. He wanted a 5 string instrument with the 4th and 5th strings to be an octave pair. Not only that but he wanted to be able to play them in unison, but also able to mute one and still pick out the other. Some careful calculations and a bit of guess work and quite a few CAD drawings got to me where I felt confident in putting blade to wood.

As he's also the most particular muso I know, I had him down for a fitting on the neck, then again once it was strung up we went over the string spacing and redid the nut to better accommodate the spacing on those 4th and 5th strings.

Body - Sapele
Neck - Spanish Cedar with CF truss rod
Bindings - Tortise Shell with maple backing so that the light parts flash bright
Rosette - Spalted Mango
Fret Board - Gidgee with 12" radius
Bridge - Gidgee with Spalted Mango inlay
Head plate - Jarrah
Tuners - Peghed 4:1
Finish - Satin Mirotone over epoxy pore fill
Strings - Wuth Browns
Pickup - K&K twin spot

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[charangohabsburg]

I'm tempted to say "great wood selection for the binding material"...
I also love to see how you are "playing" with the bridge shape, how you converted it into a tie-block bridge.

he wanted to be able to play them in unison, but also able to mute one and still pick out the other.

Definitely not for beginning ukulele players!
On a charango there is a similar configuration on the middle of the five double strings, but there it is easier to catch only the high or the low octave because you simply attack it from one side (with the thumb) or from the other (with the index finger), and the farther string of both will not sound. On the last (double-)string these attacking alternatives are given less often. Glad to see that on the bridge side you seem to have to chosen the right distance between these strings.

[Kev3]

Nice to see you're still being challenged - Bosko must be stoked. Any chance of him giving us a sound clip?

[needsmorecowbel]

Damn.......

[Allen]

There were quite a few things that challenged me on this instrument. First up was how to shape the head stock so that the string path would work out on those 4th and 5th strings, and still hold onto the look I'm striving for my instruments.

Then the bridge was a real head scratcher. I couldn't go with a pinned bridge as I prefer, as the 4th and 5th are just too close together to work out on the spacing. So then I was left with either a string through bridge, or a tie bridge. Since Bosko is a working muso, I didn't think he'd want to be fiddling about trying to replace a string through when one broke in mid act, and a classical style just didn't suit the look I was after.

I had planned on using a pinless design like a steel string might use, but the bridge on a uke is just too thin for that style to work out. I should know, I make 4 bridges trying to get it to work before giving up and going with this version.

I got to sit with Bosko last Sunday while we went over the set up on it, and he played it hard for about an hour or so. As the spacing at the nut for the octave course was a best guess, we decided that they were a bit far apart with the nut I had made, so a new one was in order. That's been done and Bosko will pick the new uke up this coming Saturday.

I will be onto him for a sound sample of this one for sure.

[lauburu]

Wow. The careful choice of woods really transforms this sapele. Excellent work
Miguel

[Kev3]

Looking forward to hearing this one - and love the way the bridge turned out.

- please don't give up the day job though - I don't think any of us could stand it if you concentrated all your efforts to this craft

[Kamusur]

I love the headstock, rear headplate, the body wood, the finish, the guys nickname inlay, the rosette is frigging sensational, the bridge is out of this world, ..the....the..the..

Steve

[mooshalah]

Hi Allen.

I know this thread's lain cold for quite a while, so I hope you'll not mind if I waken it - if for only an instant - to ask your help in the matter of a 5-string tenor ukulele.

I've been asked to make a 5-string tenor ukulele by someone who's never seen or played one, but who likes the idea, and has asked me to execute it!

I've had lots of thoughts, some - like, gee! I'll have to pay for two sets of tuners but will only need one from the second set - I had much later, after I'd agreed to make the instrument. Others now include issues of aesthetics (like, how do you make a pleasing shape to the headstock; I see you've already struggled over this one), as well as wondering whether I should make the two G strings (the doubled pair) very close (as on a mandolin or 12-string guitar) or separate them sufficiently (as you have done) that the player might choose to play either the high or low string individually.

A matter of particular interest is the width of the fingerboard at both the nut and the 12th (or 14th) fret. What measurements do you (or others) use for a tenor ukulele with either a close-paired, or slightly separated double G strings. I'm really at a loss to know what will eventually feel good, and allow competent playability. Also, if close-paired, what might the optimal distance between the strings be? And if separated, what might the distance between the strings be, at both the nut and saddle?

I wonder whether, a year later, you (or anyone else) have had any further thoughts in this matter, from which I might profit. Is the ability to consciously chose and execute either of the paired strings of real benefit?

Finally, I've seen somewhere on the internet, what seems like an intriguing idea (or a real folly); a small "hook" mechanism on the 18th fret of the doubled G strings on a 5-sting ukulele, to permit the moving away of the "unwanted" string (either the high or low G), so that only the "unhooked" string will sound. I wonder whether anyone here on the forum has either seen anything like this, or has an opinion one way or another.

Your comments will be greatly appreciated.

Frank.

[Allen]

I get quite a few requests about building another instrument just like this one, as the idea really appeals to people, but the reality is that this set up is only for a real player. Being able to simultaneously fret the double course and pick out the note (string) that you want, but also fretting both cleanly, or muting one as they spread out up the fret board takes a considerable amount of skill.

So while making a new nut to adjust string spacing at the headstock end is easy (and we had to do as the first spacing was too wide) the spacing at the saddle would require a new bridge, or some really clever engineering to have it adjustable. Make sure that your client is aware of this should they decide for the wider spacing in order to pick out the separate strings.

That said, Bosko absolutely loves this instrument. Is incredibly proficient on it. But does practice hours and hours every day. Everyone else has a good long think about their playing skill and so far they all have decided it might not be up to the task.

The spacing at the nut is 3.5mm and at the saddle it's 6.5mm on the octave pair. The rest of the spacing is a personal thing for what the player is use to on their other instruments. My typical uke nut width is 36mm so adding the 3.5mm to it was close enough to 40mm that it's what we went with. The saddle end string spacing on my ukes is normally 42mm but adding the 6.5mm brought it up to 48.5mm.

Your fret board width at the 12th is always the width of the strings at the saddle.

If you opt for the narrow spacing where the strings are played in unison then it's typical to only add 2 mm or even none at all to the string spacing overall to each end. And split the difference between the others.

[mooshalah]

Wow!

Thanks for such an immediate and comprehensive reply, Allen.

Yep; I get your point about being able to both cleanly fret and pick out either of the octave G strings individually. Reading your comments, I think that I'll be conservative and leave the instrument with a closely spaced pair a la a mandolin or 12-string guitar. It'll do me no good at all if the person for whom I'm making the ukulele can't play it and is unhappy! I guess the time to experiment is on something I'm making only for myself.

Frank.

[Mark G]

Allen, you do truely beautiful work. Every time I see one of your finished instruments I get new ideas and inspiration. Thanks, Mark.