“Richard Parker reminds me of the cathedrals of Europe; finely crafted, beautiful in appearance…and a sound that soars. This ukulele delights all of my senses.”
(Anne L. Founder/Director of INCLUSIVE ensemble)

Available instrument builds – Feb, 2018

Oct 2018 note: our cancer journey has put me far behind on every task, including maintenance of this list. I apologize, and will catch up as time permits.

All are Standard tenors unless otherwise noted. Instruments that have been spoken for are marked with strike-through (until I do a more thorough update). Additional pictures and information are sometimes available on my Facebook and/or Instagram feeds. With rare exceptions, builds (with a strike-through) are planned builds rather than completed instruments, and as such they can usually be customized.

  • Panther – Lyric tenor (17.9″ scale), East Indian rosewood, Rowdy Creek river-salvage redwood.
  • White Tree – Lyric tenor (17.9″ scale), African blackwood, Swiss bearclaw spruce, rosette and headstock inlays by Larry Robinson, side port, Port Orford cedar neck.
  • Zion – Ziricote, Swiss spruce, side port
  • Macavity – Knock-out Macassar ebony, sinker redwood, side port.
  • Muir – GT, East Indian rosewood, Rowdy Creek redwood, side port
  • Nutmeg – fiddleback Honduran mahogany, Rowdy Creek river-salvage redwood
  • Laurelin – curly Oregon myrtle, Swiss bearclaw moonspruce.
  • Spooky – Ziricote (with sapwood), Swiss bearclaw moonspruce
  • Aila – Sinker redwood, Macassar ebony
  • Nikita – baritone, Swiss spruce, curly Oregon myrtle
  • Kōkako – Lyric tenor, sinker redwood, Macassar ebony
  • Stickeen – 19″ baritone, sinker redwood, East Indian rosewood
  • Ella – Sinker redwood, African blackwood
  • Sam-I-Am – GT, Port Orford cedar, Oregon myrtle
  • Viv – GT, Sinker redwood, “The Tree” mahogany
  • Fée Belle – East Indian rosewood, sinker redwood, side port
  • Misty – GT, East Indian rosewood, Rowdy Creek redwood, side port, slothead.
  • Anduin – Ziricote, Swiss spruce (sister top to James Hill’s tenor River).
  • Evenstar – “Richard Parker” myrtle, Swiss bearclaw spruce, rosette and headplate inlays by Larry Robinson, side port, Port Orford cedar neck.
  • Luna – “Richard Parker” myrtle (like the picture above), Swiss bearclaw spruce, paua abalone rosette, side port, Port Orford cedar neck.
  • Black Orc – African blackwood, Swiss bearclaw spruce, blackwood rosette, side port, Port Orford cedar neck.
  • Brandywine – Curly claro walnut, salvage redwood (Rowdy Creek tree).


  • Standard Tenor Ukulele – 17″/432mm scale. Expressive, singing, and delightful, the Standard is a rich, strong tenor that adds the influence of great classical guitars to its Hawaiian roots. Ideal for standard C6 and D6 (Canadian) tunings.
  • “Lyric” Tenor Ukulele – 17.9″/455mm scale, distinctive 4 or 5 fan open-harmonic bar bracing. Named for the vocal type of legendary singer Luciano Pavarotti, this longer scaled tenor shares the standard tenor body but adds more finger room and an extra shot of espresso. Excellent for standard C6 as well as chocolatey drop tunings.
  • Grand Tenor (GT) Ukulele – 19″/483mm scale. A large body tenor designed with Hawaiian jazz uke master Kimo Hussey. Beautifully balanced with a curvy baritone-sized body that sits in your lap like a perfect-sized puppy, the GT offers additional resonance, complexity, warmth, and sustain, and more spacious fingering. A standard 13th fret neck join puts the bridge in the classical guitar “sweet spot”.  Especially nice for creating distinctive sonorities with drop and/or altered tunings, the GT also makes a fine baritone.
  • Baritone Ukulele – 20 1/8″/51cm scale. This longer scale sibling of the Grand Tenor shares the GT body but pairs it with the well-known 20.125″ (Martin) scale and a 14th fret neck join. For standard G6 tuning and the wide world of altered tunings.
  • Fiver – Based on the GT/Baritone body, this unconventional uke has 5 separate strings with no doubles. With roots in the ukulele’s ancestral rajão and various renaissance instruments (as well as modern extended guitars), the Fiver opens up a treasure trove of juicy chord voicings and single note options while being more comfortably balanced than a guitalele and more compact than a tenor guitar. As a starting point think “Bari-Tenor”, tuned from low D to high A; the warmth and weight of a baritone with the clarity and sparkle of tenor high notes. Then imagine it with re-entrant 4th and 5th strings for another distinctive voice–yum. 19″ scale with 13th fret neck join.
  • “Sophia” and “Bridget” Guitars – 000/OM and 00 sized steel strings; sweet, versatile and comfortable.

Each instrument is a carefully conceived individual: a dance with the wood, designed and built to delight. On many instruments the wood and I work it out between ourselves, and I’ll tell you – wood can be very opinionated. It’s a joy when these instruments are united with their partner, as if they knew them in advance. On a commission you and I work together (in person or via technology) to create your ideal musical companion.

Standard features

My standard features include every feature that I want in a uke…except a soundport, which I often like but which doesn’t suit every instrument.

  • Comfortable and fast neck of Honduras mahogany.
  • Carbon fiber neck reinforcement for additional stability and sustain.
  • Custom headplate with signature crescent moon inlay.
  • Gold or black Gotoh UPTL tuners with black knobs.
  • Ebony or rosewood fretboard, classical guitar (flat) profile.
  • Butter-smooth fretwork, shell fret position markers.
  • Beautiful, tonally and structurally excellent body woods, including:
    • Tops: Swiss spruce, Port Orford cedar, sinker and salvage redwood
    • Back/sides: East Indian and Amazon rosewoods, Oregon myrtle, Claro and English walnuts
    • Santos rosewood binding
  • Hide or fish glue for principal joinery.
  • Multi-stage voicing of top.
  • Paua abalone rosette.
  • Custom “V” end graft.
  • Thin, acoustically responsive gloss finish on body; a fast and silky satin finish on neck.
  • Sculpted high performance rosewood bridge.
  • Bone saddle and nut, Worth strings.
  • Hardshell case.

…and most important: my greatest care throughout the build process.


IMG_1378Price naturally varies with the materials and amount of work. Use these numbers to get started, and we’ll home in as we determine just what you want.

If lists like this make your head hurt, skip down to “Commission vs. already built”, and “Too Many Options?”.

If the prices give you pause, I understand; I have a mandolin from a legendary contemporary maker, a real gem. It cost a multiple of my uke prices, and I repeatedly decided not to get it–luckily I repeatedly changed my mind! Too ease your decision, we can arrange so you pay what you can, when you can. This works naturally with new builds (which take time), and is available on already-built instruments as well. I offer a few more thoughts way, way down at the end of this page.

  • Tenor Ukulele (Standard and Lyric):  $2950
  • Grand Tenor/Baritone Ukulele: $3250
  • Wood upgrades – Many beautiful sets are available at no extra charge, but some woods are exceptionally expensive, rare, or difficult to work, and therefore cost more:
    • Top wood: renowned trees like Lucky Strike (redwood) and extra-fantastic bearclaw spruce may add $100 to $300.
    • Back and sides: these exceptional sets–e.g. African blackwood, “Richard Parker” myrtle, striped ebonies–most often run between $300-$1000, but some cosmic and/or super-rare sets go higher.
    • Necks: harder to find, pricier, and more painstaking to work with, Port Orford cedar adds $100.
  • Side sound port: $150
  • Radiused fretboard: $150.
  • Slotted headstock: $350 (plus tuning machine difference)
  • Version 2Cutaways, bevels, fancy rosettes and trim, binding/purfling upgrades, three piece backs, etc.: priced individually. 
  • Inlay/Scrimshaw: Priced individually, from a few hundred to “sky-is-the-limit”. Done in collaboration with Larry Robinson, Bob Hergert, and others.
  • Case upgrades, different tuning machines, pickups, etc.: priced individually to reflect cost and work.

I want to emphasize that while spectacular woods and delicious details may add enjoyment, they are not about great tone, playability, or reliability (though of course you may prefer the sound and response of one piece of wood over another) . Without exception I use woods I trust and that sound beautiful to me, and build with meticulous care. I don’t hesitate to provide my standard instrument to a performer at the highest level.

Contact me for a quote on exactly what you want.

Commission vs. already built

Commissions involve you in the fascinating process of building and offer maximum flexibility. Whether you are interested in all the details or want to specify just a few key attributes and leave the rest to me, commissions are the “adventure vacation” version of finding your instrument.

In contrast, choosing a completed instrument is a more direct experience of how the two of you connect; instead of trying to describe things, we hear and feel them. There can be real magic in letting the wood itself guide this very intuitive form of custom lutherie, and like an encounter with a soul-mate, finding an instrument this way is a lovely experience.

In either case, the instrument will be as custom as can be, built in close interaction with those particular pieces of wood. I will have photos and information to share about the build inspiration and process–one of the nice perks of knowing the builder!

Too Many Options?

I know just what you mean. Don’t worry about having a clear picture or the right words; just tell me what appeals to you–players you enjoy hearing, musical styles, colors, whatever comes to mind–and a budget. I enjoy interpreting needs and dreams into this medium, and will suggest some nice alternatives.

“Why should I get your instrument rather than…?”

Let’s be honest: tons of music and fun can be had with modest instruments. And–a reality check for custom builders–there are inexpensive instruments with pretty woods, shiny finishes, serviceable tone, and (with skillful setup and tweaking) good playability. There are weaknesses of course, but it’s nonetheless remarkable.

That said, a fine custom instrument is a different beast. Blending my 45+ year pursuit of craft and sound with your needs, we find you a musical partner with superior responsiveness, expressive range, playability, and beauty.

However, I’m really after more, seeking delight and longevity that bloom ever more richly with time. These resist easy measurement but resonate strongly in my memory, where the experience of playing truly magical instruments and studying with masters pulls me toward them on every build.

So why one of my instruments? Because you sense the delight; you feel a pull to live with and make music on this kind of instrument, and you have a good feeling about working together.

A clue that I’ve found revealing (for tools as well as instruments) is whether I gravitate toward it; whether it pulls me into holding it, using it, exploring and enjoying it. Jeffrey Elliott, an outstanding luthier and teacher, uses a great term: allure–a constellation of qualities that brings you back again and again.

This site attempts to give you a sense of what I’m like, how I build, and an intimate view of my instruments–insofar as technology can–to help you sense whether you feel that pull, the tug of delight and allure.


“But…it’s so expensive!”

Still reading!? You are dedicated.

You’re right—it is expensive. If it weren’t for long experience with handmade instruments I’d constantly be apologizing for my prices. Sometimes I still do; as it is, here I am explaining them;-).  

Summarizing what I’ve said elsewhere, my best advice for choosing an instrument is to check the quality of materials and construction, then follow your sense of allure and delight as regards looks, sound, feel, and all the intangibles.

Suppose this leads you to a deeply compelling instrument that costs, say, $4,700–a serious purchase. To help navigate this I’ll discuss market comparisons below, but while important they end up being secondary in my experience. What matters most seems to be the joy, grace, connection, and even healing that an object or activity engenders.

Consider this ukulele, then, in the context of other (2017) prices: one third of a premium Swiss sewing machine; 15-20% of a nice Harley-Davidson Electra Glide or basic Toyota Tacoma; a nice (but not extravagant) trip to Europe for one; a heat pump (installation extra); a well equipped 15″ Macbook Pro with a pro-level photo printer; and so on with comparisons more pertinent to your life. Don’t rush, let it ferment. Does the uke keep bubbling back up, or does it fade?

Inlay inspiration: trailside penstemon. Maybe add the hummingbird that photobombed me.

Now let’s look into the world of handmade instruments. 

There is a saying among luthiers that a fine uke requires much of the work of a guitar…but sells for a small fraction of the price. Why is this? 

It is largely due to the vast number of ukes that cost from $25 to $200. Against that backdrop, a $500 uke sounds like a very high end instrument, and some music stores present them as such. A $4000-$9,000 ukulele—much less $20,000—Inconceivable!

…until you explore fine handmade instruments a bit further. We won’t even consider the violin world; here are examples of fine mandolins and guitars:  

  • F5 mandolin by Lynn Dudenbostel – $23,000 (2016, used). The simpler 1A model costs around half. Gilchrist, Nugget, Monteleone, and others are similar. 
  • East Indian rosewood/spruce (or cedar) classical guitar from Jeffrey Elliott – starts at $19,000 (2016)…but there is a 12 year wait list. Dealers own many of the wait list positions and mark Jeff’s prices up by 50% or more. 
  • Even factory guitars inhabit this territory: built from the same myrtle tree as my Richard Parker, Prim, and Luna ukuleles, a gorgeous McPherson guitar was $28,000. Wow!

There are of course fine instruments that cost much less than these well known US makers (with numerous factors affecting the price), but instruments between $10,000 and $30,000 are common from fine makers and dealers. Visit Guitar Salon International, which carries a range of instruments both handmade and factory. Venture then to Jeffrey ElliottLynn Dudenbostel, Stephen Marchione, John Monteleone, Kathy Wingert, and beyond; such inspiring work, and window shopping is free!

Now: here’s an even bigger surprise when you first encounter it: most of these instruments sell to folks of relatively ordinary means. Back in the 90’s someone at a bluegrass festival lent me his $10,000 mandolin to perform in an impromptu band–he felt my $1000 vintage Gibson wasn’t up to the task. I was stunned, but later realized that there were many valuable instruments gathered round the evening campfires, and resting in tents and VW vans all around the meadow.

Guitars, mandolins…so what? Are there ukuleles in this price range?  Yes: a few above $20,000 that I’ve seen, and a modest number over $10,000—a reminder of the luthier’s saying I shared above. From $5000 to $10,000 however, yes indeed—tables of them at the 2016 Ukulele Guild of Hawaii exhibition.

Underpinning these prices are forces from simple economics to our views about life:  

  • On the maker side: without resorting to factory methods, eight to fifteen premium instruments per year is a full plate for a luthier working alone. (Some manage to do more, but I personally suspect they use elves). I work 250+ hours a month, and my baseline instrument had $6-700 of material expense in 2016. Then factor in the cost of shop space and overhead, marketing, wholesale discounts if selling through a dealer, business insurances and taxes, shipping, health care, and so forth–you can do the math.  
  • On the buyer side: some players–at some point in their life–decide that the joy of a fine instrument is at least as worthwhile as a car down payment or big vacation…and will last a lifetime (more, actually). And heck, in the ukulele world one can have the finest high G, low G, and baritone ukes imaginable and still feel positively frugal around a friend with a Fleta guitar;-). 

IMG_3502So there is the briefest intro to custom lutherie pricing. Perhaps now (like me) you will be amazed at the prices of great ukes for altogether different reasons.

Do you discount? 

Yes—I offer a discount for your pragmatic expression of aloha in helping the most vulnerable and stricken. 

Within a week or so before making final payment on your ukulele, make a donation to one of the following organizations:

  • Oxfam
  • Doctors without Borders
  • Mercy Corps
  • Catholic Relief Services

Copy me on their official receipt (typically an email), and I will deduct your donation from the price, up to a maximum of 10% of the final cost. 

  • If you already give to the organization, wonderful! I will happily deduct your additional donation (up to the 10% limit).
  • If you begin monthly giving (or increase your level if already signed up—good for you!), I’ll deduct 12 months of your additional donation (up to the 10% limit), trusting that you’ll continue for 12 months…and hoping that you’ll get hooked. 


Pat Megowan Stringed Instruments LLC