The Uke Book Illustrated: Design and Build the World's Coolest Ukulele

By John Weissenrieder and Sarah Greenbaum

The Uke Book Illustrated clearly explains every step in the construction of a ukulele through in the format of a graphic novel. This artistically conceived and executed book reveals the practical aspects of an ancient trade, showing of the preparation and selection of materials, assembly and construction, the tools and jigs, and how to

• Language: English
• Publisher: Fox Chapel Publishing
• Release date: Feb 1, 2021
• ISBN: 9781607657071

John Weissenrieder

John Weissenrieder was a classically trained luthier. His formal studies began in the workshop of the great guitar maker, Andrea Tacchi, in Florence, Italy. During his apprenticeship, he studied intensively the works of Enrique Garcia, Francesco Simplicio, and Robert Bouchet, traveling to Spain and France with the scope of investigating more deeply the works of past masters. John constructed instruments in his own atelier in Florence, mixing the style of these luthiers and his own personal vision and style, until his passing in 2017.

Book preview

CHAPTER

1

ANATOMY

LET’S MEET OUR UKULELE IN ITS FINISHED FORM FIRST, TO LEARN THE NAMES OF ALL OF ITS PARTS.

Headplate veneer

Cres

Tuning machine

String post & button

Head

Nut

Fret

Fingerboard

Neck

Heel

Heel cap

Neck block

Kerfed lining

Side

Binding

Purfling

Rosette

Soundboard

Bridge

Saddle bone

Tie block

Wing

Tail block

End graft

Fan brace

Bar

Back bar

Back

Back joint reinforcement

Rib block

Plantilla

Diapason

Fret position markers

Strings

Soundhole

Label

Sound box

Illustration

AND NOW, LET’S MEET THE UKULELE IN ITS RAW-MATERIALS STATE.

Illustration

The shape (plantilla) of the instrument shown in this book is reminiscent of the Spanish classical guitars of the early 1900s. Compared to many industrial ukuleles, the shoulders are slightly more squared off, the lines of the waist are straighter, and the lower lobe is weighted toward the bottom of the instrument. It’s an elegant shape compared to the more whimsical, circular curves found on most commercial instruments.

Illustration

On the following pages, you’ll find scaled drawings of a tenor ukulele. Whether you use these plans or come up with a design of your own, it’s a good idea to print out a complete set of full-size drawings and keep them at hand throughout the assembly of your own ukulele. On these drawings, you’ll find exact answers to a lot of the nagging little questions that invariably come up during the building process.

IllustrationIllustration

The shape you use is up to you. I don’t recommend deviating too much from traditional shapes and proportions on your first instrument. Significant variations in the volume (cubic cm or cubic inches, not loudness) of the sound box and in the diameter and/or area of the soundhole can have a significant effect on the resonant frequency (the Helmholtz frequency, for science buffs) of the instrument, which in turn affects the harmonic response and timbre of the instrument.

Illustration

The geometry of the fingerboard and the relationship between the neck and the body of the instrument are important. Unless you have a thorough understanding of the dimensions, relationships, and angles involved, stick to these plans or plans from another proven design.

Illustration

Vibrating strings

The playability of the instrument depends mostly on the height of the strings above the frets and the relative flatness (or very slight curvature) of the fingerboard/frets. It’s easier to get all the notes playing distinctly and cleanly without having to set the strings too high on a small instrument, such as the tenor ukulele, than it is on, say, a guitar, where the scale length is longer, the string tension is higher, and there are more strings.

Everyone wants to know how to make an instrument that sounds better. There are no magic answers. The best way to ensure a satisfying result for the beginner is to follow a tried-and-true design, use quality materials, and work with the best craftsmanship you can.

It is generally agreed upon by luthiers that the soundboard is the most important element when it comes to good sound. The soundboard is the part of the instrument that pumps the air, much like the cone of a loudspeaker does. The soundboard transforms the energy of the vibrating strings into sound waves that move through the air. The soundboard imparts innumerable subtle frequencies and timbric nuances that give each instrument its own unique voice. Other important factors in determining the timbre or voice of an instrument are the strings and the player’s attack, or how and where the string is plucked and with what (fingernails, pick, or fleshy fingertips).

The whole instrument vibrates when it is played—the head, neck, back, sides, and top Any spot that is too weak to hold up to the tension of the strings, or too heavy and strong to vibrate freely and harmoniously with the rest of the instrument, will produce a compromised result.

The tenor ukulele weighs about 750g (1lb 10oz), or about as much as a kitten. The accumulated tension of the four strings is about 30kg (66lbs), comparable to a big sack of rice. To support all that weight (or, in the uke’s case, tension) and still sing out, it takes a strong and clever kitten! Or, rather, a well-designed and well-built ukulele.

MATERIALS

All dimensions are length x width x thickness unless stated.

Illustration

Top

Plates: 32cm x 12cm x 3mm

Rosette (inside diameter): 70mm

Struts (3 pieces): 18cm x 7mm x 12mm

Soundhole reinforcement:

8.2cm x 10cm x 2mm

Illustration

Neck

Neck blank: 33cm x 7cm x 18mm

Head blank: 12cm x 7cm x 12mm

Heel block: 9cm x 7cm x 55mm

Headplate veneers:

13cm x 7cm x 0.5-2.0mm

Illustration

Back

Plates: 32cm x 12cm x 3mm

Center reinforcement: 27cm x 1.8mm x 2.5mm

Bars (one each):

18cm x 7mm x 12mm

15cm x 7mm x 12mm

23cm x 7mm x 12mm

Illustration

Sides

51cm x 7.5cm x 1.8mm

Illustration

Fingerboard and friends

Illustration

Fingerboard:

28cm x 36mm x 46mm x 5mm

Frets: 86cm

Position markers: 6 pieces

Illustration

Kerfed linings: Make 4 lengths of 25cm of each type, plus one extra.

Illustration

Bridge blank: 11cm x 25cm x 1cm

Illustration

Nut & saddle

Illustration

Rib supports: 10 pieces, 3cm x 7mm x 7mm

Illustration

Tail block: 7.5cm x 5cm x 1cm

Illustration

Bindings, purflings, heel cap, end graft

Illustration

Tuners, 4

Illustration

Strings

IllustrationIllustrationIllustrationIllustration

CHAPTER

2

TOOLS

Illustration

Wood glue

Illustration

Spring clamps

Illustration

Lighting

Illustration

Ruler

Illustration

Coping saw

Illustration

Left bevel

Illustration

Right bevel

Illustration

Nippers

Illustration

Hammer

Illustration

Ryoba saw

Illustration

Bar clamp

Illustration

Angle

Illustration

Chisel

Illustration

Tape

Illustration

Wood scraper

Illustration

Dozuki saw

Illustration

File

Illustration

Rasp

Illustration

Block plane

Illustration

Pencils

Illustration

Square

Illustration

Sanding block

Illustration

Glue spreader

Illustration

Cam clamp

Illustration

Chisels

The narrowest chisel is needed for a few key operations: cleaning out the slots for the sides in the heel block and preparing the binding channels. The 3mm chisel is useful in cutting the binding channels; the 6mm or 12mm chisel for trimming and shaping the fan struts and bars; and the wider chisel for general trimming and truing.

Illustration

Double bevel

Illustration

Left bevel

Illustration

Right bevel

Illustration

Small utility knife with long-pointed blades

Left, right, and double bevel are 19mm each. If you’re right-handed, the right bevel is the one you’ll use most often. Both left and right are needed, especially for the curves of the neck and heel block. The double bevel is handy but not essential; in a pinch, it could take the place of the other two.

Illustration

Block plane with toothed blade

Illustration

Finger plane

Illustration

The toothed blade leaves a true surface that can be quickly smoothed using sanding blocks. It is also effective on difficult-to-work hardwoods. The finger plane speeds up and adds precision to the shaping of the fan struts. A sharp, well-tuned plane is a pleasure to use.

Illustration

Ryoba

Illustration

Dozuki

Illustration

Coping saw

Saws include a 210-240mm ryoba (0.45mm-thick blade/0.6-0.7mm kerf for fret slots), 150mm dozuki, and a coping saw. The precise cuts necessary in instrument construction require sharp saws. The ryoba is for roughing out the neck and head. The dozuki’s fine, precise cut is just right for cutting the slots for the sides in the heel block. Keep one of the saws, such as the dozuki, as sharp as possible, using it for only the most important cuts.

Illustration

Squares and rulers are needed for layout and marking. Use a 15-20cm ruler, a caliper (0.1mm accuracy is sufficient), a 60cm ruler, and a small combination or carpenter’s square.

Illustration

Pencils are of course needed. Use fine (0.5-0.7)/hard (h) pencils for precise lines and soft 2b ones for general layout.

Illustration

A note about measuring and marking: when precision is important, mark measurements using a v, the point indicating the desired dimension. The intersection of the two legs of the v indicates an exact, nearly dimensionless point, whereas a line has some thickness, not to mention that it may waver a bit.

Illustration

Cutting the line

Illustration

Leaving the line

Cutting the line vs. leaving the line: When an exact cut is called for, a crisp, clear, correctly placed line is essential. Don’t underestimate the importance of the proper use of a sharp pencil!

Illustration

Cam clamps, 3

Illustration

Bar clamps, 4: 50mm x 100mm

Illustration

Spring clamps, 4

Illustration

Clothespins

Kerfed lining clamps

Several long-legged clamps are needed to straddle the side and put pressure on the kerfed linings while the glue dries during the 1st and 2nd phases of assembly. 10 are sufficient if the linings are glued in 3 phases, or 30 if it’s to be done in one go.

These clamps are very simple to make and work perfectly. They can be made from easily found materials. The exact dimensions are not critical. Legs of 6mm x 9mm are sturdy enough.

The ingenious thing about these clamps, aside from their simplicity, is the sliding pivot block.

Illustration