“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
May 2020 note: our cancer journey (which has ended) and subsequent shoulder surgery has put me monumentally 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 some exceptions, builds without a strike-through are planned rather than completed instruments, and as such they can often be customized.
- Brandywine – Rowdy Creek river-salvage redwood, prodigiously curly claro walnut
- Panther – Lyric tenor (17.9″ scale), Rowdy Creek river-salvage redwood, East Indian rosewood
- White Tree – Lyric tenor (17.9″ scale), Swiss bearclaw spruce, African blackwood, rosette and headstock inlays by Larry Robinson
- Zion – Swiss bearclaw spruce, Ziricote
- Macavity – Sinker redwood, knock-out Macassar ebony
- Meriweather – H-5 (19″ 5 string “Bari-tenor), sinker redwood, Macassar ebony, 3 piece back
- Nutmeg – Rowdy Creek river-salvage redwood, intensely fiddleback Honduran mahogany
- Laurelin – Swiss bearclaw moonspruce, curly Oregon myrtle
Chameleon– baritone, Swiss bearclaw moon-spruce, African blackwood (Philip Griffin) Rivendell– GT, sinker redwood, East Indian rosewood Aila– Std. concert, sinker redwood, “Little Mac” Macassar ebony, Larry Robinson inlay (Cynthia Kinnunen) Duke– Lyric Tenor, sinker redwood, Amazon rosewood (Gerald Ross) Nikita– baritone, Swiss bearclaw spruce, East Indian rosewood (James Hill) Kōkako– Lyric tenor, sinker redwood, Macassar ebony (Philip Griffin) Ella– 19″ baritone, sinker redwood, East Indian rosewood (Marcy Marxer) Dread Pirate Roberts– sinker redwood, African blackwood (Cathy Fink) Sam-I-Am– GT, Port Orford cedar, Oregon myrtle Viv– GT, sinker redwood, “The Tree” mahogany Fée Belle– sinker redwood, East Indian rosewood
- Misty – GT, Rowdy Creek redwood, East Indian rosewood, slothead.
Anduin– Swiss spruce, Ziricote. Evenstar– Swiss bearclaw moonspruce, “Richard Parker” myrtle, inlays by Larry Robinson, Port Orford cedar neck River– Swiss bearclaw moonspruce, African blackwood (James Hill) Carmen/Mirai– Swiss bearclaw moonspruce, Koa, slothead (Arden Fujiwara) Prim– Swiss bearclaw moonspruce, “Richard Parker” myrtle (Suz Doyle) Katniss– Swiss bearclaw spruce, “Richard Parker” myrtle (Kimo Hussey) Little Mac– sinker redwood, Macassar ebony (my demo instrument) Black Orc– Swiss bearclaw spruce, African blackwood, blackwood rosette, Port Orford cedar neck Lakshmi– Swiss bearclaw spruce, East Indian rosewood (Marianne Brogan)/(Nova Karina Devonie) Vorc– Swiss spruce, Madagascar “volcano” rosewood (Suz Doyle) Richard Parker– Swiss spruce, mind-boggling myrtle (picture at top of page), Port Orford cedar neck (Anne Loewen)
- 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. 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 for 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.
- “Flyer” Baritone – I should probably call this the “Overhead Bin Baritone” – a 19″/483mm scale baritone that fits in the bomber Crossrock 1000 tenor ukulele case, meaning it’s much easier to stuff in an overhead bin during air travel, therefore less likely to require a gate-check. Plenty of bottom end combined with little more sparkle on top, often just the thing on stage.
- Standard Concert Ukulele – 16 1/8″ scale. New for 2020 (and still requiring bribery of the shop elves, whose arms don’t fit in the sound hole), the Concert combines the thinking behind both the Lyric Tenor and GT into a smaller yet still warm and potent musical companion.
- Petite Concert Ukulele – 15 1/4″ scale. Likewise new in 2020, smaller hands rejoice–the warmth and spice of the Standard Concert, but with a shorter scale and 13th fret neck join. Brings long stretches that much closer, and (because of the shorter scale) naturally offers less string tension.
- Hybrid 5 String (H-5, “Bari-Tenor”) – 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 guitar (search on “Keith Richards 5 string guitar” just for fun), the H-5 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. Optionally drop that a whole step if it fits your voice better, or to make old chord shapes sound lush and new. Then imagine it with a re-entrant 5th string for re-entrant sizzle while retaining all the melody notes of a low G uke (plus the thousand-and-one open tunings of the banjo universe); and then imagine the 4th re-entrant as well (like rajão) for a distinctive voice with incredible close-voiced chords and greater voice separation in many band settings. Hybrid vigor indeed!
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.
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 fretboard, classical guitar (flat) profile.
- Butter-smooth fretwork, shell fret position markers.
- Beautiful, tonally and structurally excellent body woods:
- Top: Swiss spruce, Engelmann spruce
- Back/sides: Oregon myrtle, walnut (claro, Oregon black, English), cherry (Allegheny black)
- Santos rosewood binding
- Hide or fish glue for principal joinery.
- Multi-stage graduation (“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.
Price 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! To 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/Concert Ukulele: $3150 ($2950 for Simple Version)
- Grand Tenor/Baritone Ukulele: $3350
- H-5 (“Bari-Tenor”): Priced individually; near a Grand Tenor if not crazy.
- Wood upgrades – Beautiful sets are available at no extra charge, but some woods are expensive, rare, or difficult to work, and therefore cost more:
- Top wood: bearclaw spruce or sinker redwood typically add $100 to $300.
- Back and sides: Highly figured myrtle and walnut, rosewoods including African blackwood, South American, and Brazilian, striped ebonies, ziricote, curly mahogany and koa most often run between $300-$1000. Some cosmic and/or super-rare sets go higher. Beautiful East Indian rosewood is the steal, most often $150.
- Necks: harder to find, pricier, and more painstaking to work with, Port Orford cedar adds $200.
- Open Harmonic Bar bracing: $100. Other bracing options priced individually.
- Side sound port: $150
- Radiused fretboard: $250.
- Slotted headstock: $350 (plus tuning machine difference. H-5 is higher).
- Cutaways, 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 a chance 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 50+ year pursuit of craft and sound with your needs, we find you a musical partner with superior responsiveness, expressive range, playability, and beauty.
And I’m actually after still more, seeking delight and longevity that bloom ever more richly with time. These resist easy measurement but resonate strongly in my memory; 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. The outstanding luthier and teacher Jeffrey Elliott uses an wonderful 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 small 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?
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 Elliott, Lynn 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 numerous 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 droids). 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 an Elliott or Dudenbostel!
So 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, for two distinct situations.
A discount is available to full time professional musicians. If you’re living out of a suitcase and driving yourself on tour, I get that an instrument like this is a big stretch. (However if you’ve made it really big, I kinda hope you won’t ask–Paul McCartney, I’m looking at you:-)!
And 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:
- 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