Hoping you all had a good ukulele 2016. Certainly not a year to be remembered for lots of people, and a lot of musical legends lost to us. Still, we must press on and make each year ahead the best it can be.
For Got A Ukulele, it was also a slightly quieter year, but that was a case of me trying to find some balance between real life and writing, but I think I now have it how I want it! Looking back though, I think this was one of the busiest years for ukulele reviews. It's the part of Got A Ukulele I enjoy doing more than anything else, so that figures I guess! If you are new to Got A Ukulele, consider this a potted history of what I think are the 'best bits' of 2016. Plenty already in the pipeline for 2017 too!
January saw us kick off with a couple of instrument reviews. One wasn't all that memorable in the form of a Mahalo Baritone ukulele, but one was certainly different and put the cat amongst the pigeons, in the form of the Deering Banjo Ukulele. What a great instrument! I was also thrilled to end the month with an interview with a ukulele performer I had wanted to speak to for ages - Danielle Ate The Sandwich.
In March I tackled the much debated (and much badly advised) subject of ukulele performers insurance and was delighted to see a debut on Got A Ukulele for a brand that had been absent from UK shores for some time in the form of the aNueNue Africa Mahogany Concert.
April and May were varied. We kicked off with rants about a couple of things. Firstly, the endless debate about the pronunciation of the word 'ukulele' and then the assumption that everything has to be tinged with something Hawaiian, even though most of us have never even been there. New brands were featured in the form of a concert ukuleles from Mabuhay and Ashbury, and there was guide to adjusting the ukulele saddle for accurate intonation. Ending the month was a review of one of the nicest instruments I've ever played in the Pono ATDC Tenor uke.
In June, I looked at another Mahalo ukulele. Not the best instrument but a far cry from some of their ealier ones. And I was delighted to take another step in trying to dispel the myth that ukulele friction tuners are bad by looking at these marvels from Waverly.
July brought some controversy with a post looking at what I considered to be an overload of ukulele festivals and the risk that posed to some organisers. Sadly, looking at the diary for 2017, it's going to be even worse in the year ahead... Reviews wise I looked at the rather wonderful Clearwater Roundback Baritone and the Cordoba 20TM uke. The Clearwater is still a ukulele that I would highly recommend for the money.
Full steam ahead into September with my favourites being the advice guide showing you how easy it actually is to play ukulele in different keys, a review of the hugely fun Duke Banjo Uke and a look at some great clip on tuners from D'Addario. Wow... two banjos on Got A Ukulele in one year...
And so we came to the close of the year. December had a few reviews including a welcome return for Snail Ukuleles and a rather wonderful concert pineapple uke from Ohana, but then slowed down for the Christmas break. Phew!
The year has been a lot of fun, and you may have also noticed that the ukulele festival calendar is up and running again which seems to suggest this current ukulele trend shows no signs of slowing.. Over 11 million pages read on the site in total now too! Looking forward, the reviews bench is overloaded with instruments for the new year, including some really interesting ones and discussions underway for even more.
Thanks SO much for your support of the site and positive feedback during 2016. It really is appreciated. All that remains is for me to wish you and yours all the very best for 2017 wherever you are. Will be interesting to see how the ukulele world develops in the year ahead!
A short note as we approach the Christmas holidays wishing all Got A Ukulele readers the very, very best!
And if Christmas isn't your thing, perhaps happy hanukkah, joyous kwanzaa, eid mubarak or yuletide felicitations... Whichever, just be nice to each other!
Enjoy yourselves, play some music, spread some joy and be sure to let me know about any new ukuleles you found under the tree this year! And thanks ever so much for your continued support this past year.
I'll be back at the turn of New Year with a look back over my favourite posts of 2016, and then I have a host of new instrument reviews and articles lined up for the year ahead!
Another welcome return for a musical instrument brand I have featured before on Got A Ukulele. This time we look at the UKT-528 Tenor ukulele from Snail.
You may recall me reviewing the Snail Rosewood Soprano before on the site, and reviewing it quite positively too. Since then, I have been keen to feature this brand again, and thanks to their UK distributor, Red Chilli Audio, I've been lucky enough to have this one on test for a few weeks.
The UKT-528 is a Chinese made tenor ukulele made from all laminate woods, but those laminate pieces are veneered in striking zebrawood. Snail are actually a line of instruments from parent brand Amahi Ukuleles.
It's a standard double bout tenor shaped instrument with a prominently curved base. That curve on the butt of the instrument is something I am seeing more and more and is a look I really do like. It's just subtly different enough to make the ukulele stand out a little I think. The zebrawood is naturally pretty and is veneered in two bookmatched pieces on both the top and the back. The sides of the instrument are also in two pieces and the back is slightly arched. The whole body is finished in a satin coat that allows some of the wood pores to show through avoiding the 'artificial' look of so many ukes at this price point.
A more detailed word about this laminate though, as I really am quite impressed. A glance at the edge of the soundhole will show you that this laminate is really thin. This is a very good thing! You see, most budget manufacturers tend to use laminate which is little more than plywood and is usually overly thick which just kills the tone and volume. I have said it many times before though - I would take good thin laminate over cheap thick solid wood every day of the week. I understand why cheaper brands have to make their solid woods thick - it's because solid wood is fragile and if you are building to a low budget it's frankly easier (read - lazier) to just make them thick to stop them splitting. With laminate though, it's much, much stronger than solid wood so there is really no excuse to not make them thin and resonant. Snail have certainly done this here, and rap on the top with your knuckles shows you how resonant this one is. Top marks.
In fact that top is so thin, looking at the sound hole edge you could be forgiven for thinking it was solid wood. The use of zebrawood veneer on the inside of the instrument too may confuse some people. It really IS laminate though - just good laminate!
Adding to that distinctive zebrawood grain pattern, we have cream edge binding where the top and back meet the sides, and this is complimented on the top with some black and white inlaid edging. We also have a black/white/black sound hole rosette, but I cannot tell if this is inlaid or a transfer under the satin coat. Either way, it looks neat and tidy.
Elsewhere on the top we have a standard shaped rosewood bridge plate in a tie bar style, holding an uncompensated bone saddle.
A look inside the instrument is pleasing too. We have the makers logo on a wooden plate glued to the back, notched kerfing and really delicate looking thin bracing adding to that light touch on the build and hopefully the resonance. There is no mess, no glue drips and no wood shavings. Good quality control in evidence.
Moving up to the neck, this is made from mahogany and in three pieces with a joint at the heel and one at the headstock. It is similarly finished in satin and I love the exaggerated shaping to the heel which is satisfying to touch.
Topping this is an evenly coloured rosewood fingerboard which is nice and dark but does have a couple of finish marks in the face at the body end. Fitted to this are 18 nickel silver frets with 14 to the body joint. They are generally well finished, but the upper frets down the dusty end of the neck could do with a little more tidying. They are not the sharpest fret ends i've ever seen on a ukulele, but worth mentioning. The fretboard edges are not bound, so you do see the fret ends, but they are partially hidden by some wood stain.
Fret markers are provided on the face of the fingerboard in pearloid inlays at the 5th, 7th, 10th, 12th and 15th spaces, with the 12th being a double spot. Sadly there are no side position markers. An easy fix for Snail to consider I think.
The other thing I would point out on the neck is that it is slightly wider at the nut than most Chinese ukuleles at this price point. It's about 36.5mm across, so whilst not the widest nut out there, it's certainly wider. A more standard Chinese nut width is about 35mm. Believe me - if you find your fingers get cramped on certain chords, you WILL notice this extra width and be thankful for it.
We have a bone nut before the attractively shaped Snail headstock. It's little things like the shaping of that headstock, the curved base and the shaping of the neck heel that I like and makes you think that this isn't just a generic cheap ukulele that came off the same production line as so many others. The headstock is faced in more zebrawood veneer and the Snail logo is engraved.
Flipping it over we have another smaller Snail logo engraved in the back, together with a serial number. The tuners are unbranded sealed gears, with all the hardware treated to a gold finish. They work ok, and they have a satisfying stiffness to them with no play. Sadly one of themseems to have a bit of corrosion or staining starting around the cover plate and on the front washers. No biggie though.
Finishing the package is a decent padded gig bag with front pocket, shoulder strap and an embroidered Snail logo. The strings provided are Aquila. And for that, the package will set you back between about £110 and £120 depending where you shop. That is a really attractive price.
Construction feels solid and well made all over the instrument with no issues that I can see. But that thin top and delicate bracing means that it feels anything but over built. This is lightweight, and perfectly balanced at the 12th fret when in the hands without a strap. A very nice ukulele to hold.
The setup on this review model was just as I would like it, particularly at the nut which is the more difficult one to fix. No complaints here.
The first two things that struck me about it on playing was the great volume / projection and the pretty decent sustain. This is definitely one of those instruments that gives you a nice vibration into your chest when you play it. This is of course all down to that choice to use thin woods in the construction and I wish more entry level brands would do it.
It's also very clear across the strings. At first you think it is all brightness and zing (and it certainly has does have a punch to it), but there is bass coming through too creating a satisfying mix of tones. It feels comfortable and suited to both strumming as to picking, although slightly more on the side of strumming for me. Whatever I throw at it, it always sounds crisp and never muddy. Trust me, this is a very satisfying ukulele sound.
Of course it isn't a first class tone that you would get from a professional level instrument, as it lacks that sort of character and shimmer, but this is leagues above most other instruments at this cheaper laminate end of the market. And for a shade over £100 that is pretty remarkable.
I think this Snail is one of those nice things from China that occasionally appear - an instrument maker that knows that laminate doesn't need to be thick and cheaply put together and can sound great with a bit of care an attention. I'd take this one over a host of solid wood ukuleles that are marketed at the same sort of price. In fact I'd take this over a host of solid wood ukes marketed at quite a bit more than this.
I think this makes an excellent first ukulele (and yes, this is the sort of price you should be considering for a first instrument that is serious), and certainly a step up for those of you getting frustrated with your cheap Mahalos and the like.
It's an attactive, well made, punchy, light instrument and deserves your attention. This one really pleased me and I'd buy one!
Next up in a series of ukulele reviews for Ohana Music, this week in the shape of their newly released PKC-50G Pineapple ukulele.
I'm also pleased to be looking at a pineapple shaped body on Got A Ukulele as I realise I haven't featured many of them at all. Personally speaking, I love this shape of ukulele and would like to see more of them. For the tone geeks out there, we could debate endlessly about how the shape affects the tone, but I side with the camp who find they have a fuller and more rounded tone. Some will disagree though! Anyway, pineapple, boat paddle, whatever you want to call them, I like them. There is something very traditional about them, and the fact that you don't see huge numbers of them means that you will also be playing something that is a little bit different.
The PKC-50G is is in the upper end of the middle of the Ohana range, signified by the model number. With most Ohana ukuleles you will get a number code (50 in this case) which signifies where it stands on the ladder. Generally speaking, the higher the number, the higher the grade of instrument. The numbers go quite a bit higher than 50, but equally they go a bit lower too. Oh, and the P naturally stands for Pineapple and the G for gloss.
In this model we have a gloss finished ukulele made from all solid woods in the body. The top of this is made from solid cedar, with a beautifully straight and typical grain. The back and sides are made from solid mahogany. Sure, mahogany is not the most glamourous looking wood in the world, but it works well on ukuleles and these pieces are also nice and contrast very well with the paler top. Unlike something like spruce, whilst cedar is pale it also has some colour to it and this piece is very yellowy orange. The mahogany on the other hand is a deep warm orangey red.
The top and back appear to be made from single pieces, as do the sides, which is surprising for a concert. Saying that, the pineapple shape means that it's not a complex bending job to get the sides like this. The back is very slightly arched and the grain in the mahogany looks great.
I suspect the mix of woods here was more about visual contrast rather than tone contrast, as both cedar and mahogany have a warmer, richer tone than many tone woods, so they should serve to combine on this one nicely.
For decoration we have very nicely applied abalone inlay adjoining the rosewood edge binding, and a similar abalone inlay around the sound hole. It certainly looks very classy and together with the gloss gives you a feel that this ukulele is something more special.
We have a rosewood tie bar style bridge plate housing an uncompensated bone saddle which all looks very neat and tidy. A look inside also shows a decent level of quality control that I usually find with Ohana. Neat, notched kerfing, braces not over-done and no glue drips. In fact the whole body feels well put together. The gloss isn't quite perfect, but it's pretty good with no orange peel look or drips that you see with poorer applications.
The neck is made from mahogany and is in 3 pieces with a joint at the heel and a very well hidden joint at the headstock. It's also finished in gloss, and I would prefer satin on a neck. Saying that, it doesn't feel overly 'grippy' on the hands, so that's just my personal preference.
Topping the neck is an evenly coloured rosewood fingerboard with 19 nickel silver frets with 14 to the body. That's a good number for a concert, as you normally get 18 or even less. I am pleased with that, and also pleased that they are all dressed well. It's also in pretty good condition, but I did spot some rough finishing at the end of the board.
We have pearloid position markers on the face of the fingerboard at the 3rd, 5th, 7th, 10th and 12th spaces, but sadly these are not repeated on the side. I have said it before and will say it again... I really don't see the point of a position marker at the 3rd space, and I'd rather they moved that one down to something like the 15th.
The edges of the fingerboard are bound with rosewood, hiding the fret ends, and the nut width is pretty standard for a China made ukulele, but perfectly comfortable for me.
Past the bone nut we have a really attractive headstock in the typical Ohana curved shape, faced in rosewood and decorated around the outer edge with more abalone inlay to match the body. Add to that the inlaid pearloid Ohana logo and the whole thing looks really classy. In fact the whole look of the instrument hangs together well I think and it was certainly one of those that made me say 'ooh!' when I first opened the box.
Flipping it over and I am just as impressed with the choice of tuners. These are open gears from Grover with vintage shaped chrome buttons. Being a concert, I can just about allow a lack of friction pegs on the instrument, but when they are as good a set of gears as these, I will definitely allow it!
Completing the deal are (what else) Aquila brand strings and you should be able to pick one of these up from an Ohana dealer for about £300 or under But.. Ohana are one of those brands that do something that really irritate me on price. They list these at $479 on their website, but I suspect they NEVER sell for that in dealers. So it gives a false saving to buyers that was never actually there in the first place. Ugh..
(Incidentally - the gig bag that you see in the pictures doesn't come with the ukulele, but it is from Ohana and fits this model. It's the UCS-24BK).
So as I say - a really nice build quality throughout and great looks. It's also very light and nicely balanced in the hands, making it a very comfortable ukulele to hold. Set up on this review model saw it come to me pretty much perfect for my tastes.
What surprised me the most with this one was the tone. Despite the choice of woods and the body shape I was expecting this to sound much mellower than it does. It's actually got a really chimey bright tone that took me aback (in a good way). I suspect the better term to use here is 'rich' as it really is a very full and clear tone, with lots of volume.
Strummed it has percussive sound that is very pleasing and, for want of a better term, very 'Hawaiian'. Sustain isn't the longest I have heard, but it is there, and I think that adds to the percussive nature. The range is good too, with all of the strings taking their place in the mix when strummed.
Fingerpicking is really pretty, helped by that rich tone and in your face projection. It's also easy to get some vibrato from your fretting hand which is usually much less noticeable on smaller and cheaper instruments.
But for me it's all about that projection and volume. This is a powerful little ukulele and immensely fun to play for that reason. You never feel like you are working harder on the strings than you think you should to get some sound. I hate to use the cheesy old comment, but it almost plays itself. It's just very resonant and punchy.
Richness, power, good looks... there really isn't much not to like here, assuming you can get it for a fair price.
A second review on Got A Ukulele for Flight Music, in the form of their DUS 320 SP/ZEB Soprano uke.
This is another entry level ukulele from the Slovenian based brand, also made in China like the NUS 310 Soprano ukulele I reviewed earlier in the year. Whilst Flight do make some slightly higher end instruments, this is another of their value models made from all laminate woods. I've been keen to give them another ukulele review.
Unlike the NUS 310, this one employs a couple of contrasting laminate veneers with the SP in the name representing the Spruce used on the top and ZEB representing Zebrawood as used on the back and sides of the instrument. It's certainly a contrasting look that I like and that I have seen used by several other brands. On their website, Flight talk about these two woods providing contrasting tone, and this comment confused me. If these were two pieces of solid wood, I could understand the sound differences they would offer, but with two laminates, I personally don't find that the outer veneer imparts signature tone to the construction. Saying all of that, regular readers will know that I am not necessarily 'down' on laminate ukuleles and think they have their place. Sounds like marketing speak to me though.
So we have a very standard shaped and scaled soprano ukulele with a double bout and a pleasing rounded base. As I say, I like the contrast between the two woods, but otherwise the instrument is fairly plain, finished as it is in satin. It does however show of the veneer wood grain, particularly on the striking zebrawood, but also on the spruce top in which the grain is straight. Saying that, the satin is quite thin on the top and in testing this model it quite quickly picked up finger nail marks.
Being laminate, the top is made from a single piece of laminate spruce, not that bookmatching in spruce is particularly noticeable in any event. The edges of the top are bound but Flight do not say in what. I suspect it is just stained wood veneer, but it does add a bit of extra interest to the edging. Around the sound hole we have a laser engraved rosette which also looks quite nice.
The bridge is a screwed on tie bar design made from rosewood, and the saddle is uncompensated bone.
The zebrawood stripe is nicely matched on the two side pieces, and the same applies to the back which also employs two bookmatched pieces of veneer. The back is also slightly arched, and also edge bound where it meets the sides. Aside from the distinctive pattern of the zebrawood, the finish shows off the open pores quite nicely if you like that sort of thing.
Inside looks tidy and interestingly the inside of the side pieces show the same zebrawood striping. This is somewhat unusual for a laminate as the outer veneer is usually only applied to the outside of the instrument leaving the inside faces plain (like the back is on this one). The fact I can see more zebrawood leads me to believe that the laminate is actually strips of zebrawood. That doesn't make the sides 'solid wood' but I thought I would mention it. Otherwise we have no glue spots, and thin bracing and notched kerfing.
Up to the neck and this is a pale Okoume hardwood like the NUS 310 employs and is made from three pieces with a joint at the heel and the headstock. It is all finished in satin.
Topping this is an evenly coloured rosewood fingerboard with end shaping detail and 12 nickel silver frets. Unlike the 310, the fret edges on this review model are very smooth and nicely done. We have pearloid position markers at the 5th, 7th and 10th spaces, and although there are no side markers, Flight tell me that current production models are putting side markers on since my last review. Got A Ukulele strikes again! Either way, this is a considerably nicer neck than I reviewed on the 310.
We have a bone nut before a typical three pointed crown shaped headstock. It is faced in more of the striking zebrawood veneer and the Flight logo is nicely engraved. Also engraved into the face of the headstock is another flower style logo mimicing the sound hole decoration.
Flipping it over and I see that the tuners are leagues better than the wobbly open gears used on the NUS 310. Sure they are still unbranded gears (would still prefer friction pegs!) in chrome, but they are good enough quality and work just fine. So many brands at this price just get it wrong with massive buttons and cheap tuners. These are perfectly passable.
Completeting the package is a set of Aquila strings and a nice quality embroidered Flight gig bag with shoulder strap and front package. As I said, this is an entry level instrument and commands and RRP of €99, although I am seeing them online for considerably less than that.
To hold, the instrument is not overly heavy, and it is nicely balanced too. Generally speaking the construction also feels sound as well, and nothing feels weak or roughly done.
The setup on the saddle and nut both need some work. The saddle only needs to come down a touch, and is on the verge of being passable, but the nut is just far too high, leading to some intonation issues at the lower frets. Nothing major, and fixable though, so I would recommend buying this from a store that offers a setup, or budget in the need to get it checked over. Just to make a point on this issue. I regularly get emails from readers asking for ukulele recommendations that have 'good intonation'. There is no such thing - and by that I mean that ANY ukulele can have bad intonation if the setup needs adjusting. It is not something symptomatic of any brand - rather more symptomatic of the dealer you bought it from. So as I say - this one can be easily adjusted and for that reason I don't mark down instruments if the intonation is purely down to the adjustable elements that are designed to be adjustable. What I can confirm on this one is the issue seems in no way connected to anything more fatal in the construction! We digress.
So nice to hold, nicely made, what about the sound? Well, first impressions were that in comparison to the NUS 310, this is significantly better. That last Flight I looked at sounded very thin and boxy on the tone, but this one has a lot more going on. The volume is good, the notes are pretty clear and it's certainly bright. Sustain isn't great to be honest, but I have played much worse. Yes, it's kind of one dimensional, but then I find that a lot of laminate ukuleles are at this price point - hence my confusion on the marketing speak about the spruce and zebrawood above. But it's a passable instrument that actually performs well and will suit a beginner better than some of the dreadful rubbish still about. I was particularly impressed with it when fingerpicked as it does have some chime to it too.
Don't get me wrong, it's not a high end complex tone, but then it is not trying or pretending to be. But as I say - still perfectly acceptable. I think this one is following what is a pleasing trend in ukuleles from China at the cheap end in the recent year. When I started out on ukulele there were some truly woeful instruments out there at the cheap end. Things that should never have left the factory. Sure, there still are, but they are being drowned out by an increasing number of better made cheap instruments. For the new ukulele player not looking to spend a fortune, I think things have never been better in terms of choice and reliability. Of course with more choice comes harder decisons on what to buy, but hey, that's what Got A Ukulele is for!
So in summary - this one is not getting a stellar score, but it's not getting a bad one either. I think if you were considering one of these as a first instrument, or for a child, then you could do a lot worse. And you can't argue with the price. Just factor in that you may need to do some adjusting on the setup. Pleasantly surprised with this one.
A welcome return for the Ohana brand on Got A Ukulele with their latest tiny uke in the form of the "O'Nino" model.
This is not the first sub-soprano scale ukulele I have looked at on the site, and nor is it the first sub-soprano for Ohana, as this follows on from their earlier SK21 series. The difference with the O'Nino however is that it even smaller than the 21 series. Call it a sopranino, call it a sopranissimo, call it a sub-soprano, call it what you like. It's a very small ukulele! And like a lot of the Ohana line, it is made in China, but brought back to the USA for quality control before distribution. I must say, their QC is pretty good too, as I have rarely (if ever) seen a truly bad Ohana.
With a scale length of 11 inches and an overall length tip to tail of only 17 inches, this is certainly a tiny ukulele. Not the smallest out thre by any means as ukuleles like the Tiny Tangi and the Nano Ukes built by Andy Miles are smaller, but it's still smaller than a soprano, and the smallest yet from Ohana. Readers will know of my love for the John Daniel Pixie Sopranino instrument and this O'Nino is very slightly smaller than that!
Size apart though, this is a standard double bout instrument made from all solid mahogany. I really like the shape, and that narrower upper bout which exaggerates the small scale to the eye even further.
The whole body on this review model is flawless and finished in a semi gloss coat that is neatly applied all over the instrument. I've commented on these finishes before on the likes of Kala ukuleles. They are a way apart from a hand rubbed finish which I prefer, and can sometimes look a little synthetic. Saying that, it doesn't look all that artificial and the wood grain shows through the top very nicely. It looks like a solid wood Ohana!
Decorating the edge of the top is a strip of well applied cream binding with black and white stripe detail and a similar cream and black inlaid rosette around the sound hole. It all looks classy and traditional and I like it a lot. The top is a single piece of wood, which is not surprising considering the size of the body.
The bridge is a slotted rosewood affair, meaning straighforward string changes with a white uncompensated saddle that looked to me like plastic, but specs tell me is made of bone. The bridge plate is mounted low down on the top of the instrument to keep the scale length without making the ukulele overly large. I like the look of that too.
The sides are made of a single piece of solid mahogany as is the back which is dead flat. Where the back meets the sides we have more edge binding but this time in straight cream with no detailing.
I like the whole look of the body and it screams ukulele whilst also looking typically Ohana. A look inside the soundhole shows a typical Ohana tidy build, with notched kerfing and no mess or glue spots. All very nice so far.
The neck is made from mahogany and finished in the same satin, meaning it's nice on the hand. It's made from three pieces with a joint at the heel and one near the nut. I'll come on to the width and profile of the neck in a moment.
Topping the neck is a rosewood fretboard with some colour variation near the upper frets which I think actually looks quite nice. It is fitted with 12 nickel silver frets, so a standard soprano number really. They are all dressed very nicely and are of the more jumbo style in width. The end of the fingerboard is also nicely shaped adding another detail to an instrument that already looks quite classy.
We have pearloid position markers at the 5th, 7th and 10th spaces, but none on the side. I usually consider the lack of side markers to be a gripe, but thinking about it on a sopranino, I consider it less of an issue. The small nature of the uke, and the way you need to hold it means that it's probably hard to see the side of the neck in any event, and certainly your fretting hand will hide a lot of it.
Up to the nut, and this is an area that is always of great interest to people wanting a sub-soprano scale instrument. You see, reason suggests that as you go down in overall size, the nut will get narrower too, and if there is one thing that makes a ukulele harder to play it's a narrow nut. In some cases the nuts get too narrow, as was the case with the iUke, but the John Daniel shows that they can be made wider. I measure the nut on the O'Nino as 33.5mm, so very slightly (0.5mm) narrower than the Daniel, but still bigger than the iUke Piccolo by several millimetres. I think it could do with being wider still, but then I think the John Daniel would benefit from that too (and neither are as bad as the iUke in that respect). Talking in millimetres may not seem like much to sniff at, but trust me - nut width is really noticeable when playing and despite the endless myths, has far more impact on space for large hands than the scale of the instrument does. So, thankfully, even with big hands, I can manage this one (wheras I struggled with the iUke). The O'Nino also has a fairly shallow neck profile so it does kind of feel bigger than it is when in the hands anyway. That nut incidentally is also made of bone.
Moving up to the headstock, and we find the first things that I was not too pleased with. Firstly, the headstock is finished nicely, and employs the traditional Ohana curved top. The logo is not screen printed, rather is inlaid in pearloid and looks good. The size however really stands out to me. In fact it looks no different to the headstock on a standard Ohana soprano. I think it's just too big and would have loved to see it smaller. Take a look at the headstock on the John Daniel to see that it is tiny in comparison.
And flipping it over we see another change from the SK21, and the reason for that large headstock. Whilst the 21 was fitted with decent quality Gotoh friction pegs, Ohana have reverted to unbranded open gears on the O'Nino. They are good enough quality in themselves with small white buttons, but you know me.... On small ukuleles I just think they look better with friction pegs to get rid of the 'ears' look. I know why they will have done it, as many beginners reject instruments with friction pegs off hand, but I'd have a couple of things to say to that. First, the SK21 pegs were not the worst friction pegs and shouldn't be rejected, and secondly, I think the O'Nino appeals to more than just beginners. I suspect more seasoned ukulele players may be agreeing with me on the lack of friciton tuners here. Yes, beginners will welcome gears, but what about the rest of us? All things considered, I just think the headstock is out of keeping with the rest of the instrument - big headstock / big tuner / Tiny uke... Will that affect the way it plays?
Completing the deal is a set of Aquila strings, and the O'Nino carries an RRP of $219. In reality you will find them at much more competitive prices online with Ohana dealers like Mims Ukes stocking them at about $140 at the time of writing and about £120 in the UK at somewhere like SUS. You will have noticed a gig bag in the pictures. That doesn't come included, but this is the Ohana UB19 bag they recommend for this model, and will set you back a few dollars more. So be honest though, you could carry this in a sock!
So all in all we have an instrument that will appeal to those in want of a sub-soprano fix. It's well made, looks classy and has a pleasing nut width. Shame about the headstock and tuners... but on to the playing!
First of all, in the hand it is very comfortable. Sure, being so small I wouldn't recommend any sub soprano as a first timer's ukulele, but if you know the ropes, you will not struggle with this one. It feels nice on the finish and it's light and well balanced to despite the gears and large headstock. And that body size has other advantages too of course - travel with one of these would be a breeze!
Tuning wise you have a number of options, but I tend to work on the basis that a sopranissimo is something you buy knowing that you will tune it differently from standard. Yes, you could get away with tuning it to standard C tuning (though the strings would be too floppy for my liking and it may cause intonation issues). You could go C tuning but one octave higher like the iUke (with different strings!), but I seriously dislike that shrill sound. Come on, the ukulele is already very high pitched and I find that 'even higher' C tuning is like nails on a blackboard to me. I saw Mim's recommendation was to try D tuning, but found that the intonation was a bit off with the 3rd string. If this were my ukulele I would however experiement and probably try F tuning like I usually use on the John Daniel which I find works well at this scale. SUS recommend Eb tuning which is somewhere between those two and that's what I chose for the video review. So lots of options really. And yes, I know, some will be reading saying 'but I don't know the chords for that tuning' and may be put off. You really do know how though, and working them out is far simpler than you may think. Have a read of this! (Seriously, don't be afraid of alternate tunings - you know the shapes!).
But, for now, Eb tuning it is (ie Bb, Eb, G, C), and it actually feels quite comfortable that way and intonates well. String tension is ok too. Your mileage may vary of course, but you know - no rules. Your uke - tune it how you are comfortable.
Setup on this one was very good, and I am pleased about that for good reason. The smaller you go with a ukulele scale the more necessary it is to have good intonation setup on the instrument. In other words, the larger ukuleles hide such innacuracies better, but if you are only a tiny bit out on a sopranino, you WILL notice it. For that reason I would certainly recommend you buy this from a specialist dealer who will offer a setup (somewhere like Mim's, HMS or SUS). I know I bang on about the big box shippers not doing setups, and I know many of you risk it, but trust me - this is an instrument for which you will definitely want the setup to be exact. Some say that it's impossible to get a sopranino perfect, and when you understand that all ukulele tuning is something of a 'fudge' in any case, I can understand why. This one is close enough for me though, and it's hardly and instrument for playing orchestral pieces right up at the dusty end of the fretboard in any case I suppose.
Sound wise, I find that people tend to fall into two camps when it comes to ultra small ukuleles. Those that love them and those that don't... (Well duh!).. But in that 'don't' camp, the dismissers tend to be those who don't like them for the simple reason of the staccato sound they have. To me though that is exactly the point of them. The soprano ukulele itself was designed to be a staccato, almost rhythmical instrument and not one for long sustain and massive resonance. That is the point of a soprano in my book. So if you go even smaller it stands to reason that the sub-soprano ukuleles are going to sound even more rhythmical. Of course, you are free to like what you like, but personally I like the range of all sizes of ukulele. If I want sustain and resonance I will go tenor or baritone, if I want something that is more rhythmical, I go soprano. And that's what you get with a sopranino - in spades.
This one is certainly playable, and unlike the neck on the iUke, for someone with my sized hands, enjoyable too. It's certainly staccato as I say, but great fun to strum fast. The sustain is short, but really not much different from that on my much loved John Daniel. Tone wise, it's far, far brighter from the Daniel, which is also made from solid Mahogany. Whether that is down to the strings or the build I am not wholly sure, but it doesn't make one worse than the other - just different. Like many things it will come down to personal taste, and at this size I have to say I like the John Daniel tone quite a bit more, but maybe that's just me. Saying that, I do recall playing an Ohana SK21 and I much prefer the O'Nino tone. It also beats the tone on the Kala Pocket for me and certainly that of the iUke. Volume wise, with a body this small, you are never going to wake the neighbours, but it's as loud as the John Daniel (just in a different way) and great for home use. If you wanted to perform with it - hey, that's why they invented microphones!
All in all, a very well made, nice looking instrument from a reliable brand. No, I don't like the tuners, but I know many of you will and think I am crazy for not wanting gears. I suppose I could always swap them out though. Tuners aside, I think the headstock is just all out of proportion, but that's a personal gripe and it doesn't affect the play in any way. A sopranino is never going to have massive sustain and killer tone, but as I say, that's not the point of them. As sopraninos go though, this is one of the better ones around.
At the deals on price I am seeing, I think it's something of a no brainer as a fun addition to your ukulele collection.
With many thanks to Ohana Music for the loan of the instrument
I was absolutely thrilled to have the chance to review another aNueNue musical instrument on the site, this time in the form of the UT200 Moon Bird Tenor ukulele.
I featured the first aNueNue ukulele on the site only fairly recently in their African Mahogany model (and it was a excellent). It was strange that it was the first, as when I started out writing, aNueNue were pretty widely available on these shores. Then they became next to impossible to find in the UK, and at the time of writing that last review I had to also explain that there wasn't a UK dealer I was aware of. Well things have changed as you will read further on. But first, let's take a closer look at it.
The UT200, or 'Moon Bird tenor' is right up there at pretty much the top end of the current aNueNue ukulele line up. It's an intriguing name for sure. I believe the 'bird' element in the name is because it is based on their M200 Bird series guitar, and as for the moon,.... well you will see in the details. Either that or it sings like a bird and makes you howl ... We shall see.
It's a fairly (and I stress 'fairly') standard shaped tenor ukulele in that it is in a double bout shape. But a common tenor template this is not. For a start, that lower bout is super rounded and chunk which I really like - reminiscent of grand auditorium guitars. At the top of the body we have something that people may call a 'cutaway'. But it's less a cutaway and more of a 'staggered shoulder' on the top bout. It does the same thing as a cutaway (ie gives easier access to high frets), but there is nothing 'cut away' as such. I know some people think cutaways affect tone and get seriously stressed about it. I say 'life is too short' and there are far too many other variables to affect sound to make a fair comparison. Either way, with that large lower bout, it's hardly like the UT200 is short on soundboard material! Whatever your views, I think the shape is beautiful. Clearly a ukulele shape but refreshingly 'different'.
The top of the instrument is made from a beautifully pale and even solid Swiss spruce and it looks fabulous. The grain is dead straight and it's impossible to tell apart the two pieces that make the top. The top edges are bound in rosewood, but in a way that is really quite different. Rather than a straight uniform strip of binding with the typical black and white detail strip, the visible binding on the top kind of flows in a variable wave around the edge. I think it's really effective and different. You may be forgiven for thinking it's part of a comfort edge chamfer, but it isn't - it's just a different take on binding and I applaud them for that.
Around the sound hole we have an inlaid rosette in spalted maple, and this gives your first clue to the 'moon' motif with the instrument. The rosette is kind of offset giving a kind of crescent shape on one side. Again, really different and really effective.
The bridge plate is made from ebony in a shape that is again different to most standard ukuleles and is a tie bar style. The saddle is made from buffalo bone.
Moving to the other parts of the body, the back and sides of the instrument are made from solid East Indian Rosewood. It's a striking contrast to the pale top wood and has been used as combination by some of the worlds highest end guitar makers. The rosewood is deep in colour with plenty of stripe to provide interest which is nicely book matched on the back pieces. The joint between the back and sides is bound in rosewood, but without the wave as it would be lost against the rosewood back. The back is only very slightly arched. The sides are in two pieces with a joint at the base. People sometimes assume that a ukulele 'must' have a massively arched or curved back. Not true. Many manufacturers do that to assist in projection where other elements of the build may be limiting it - to compensate if you like. You don't need a significant curve to the back if your ukulele already projects well. We shall see how this one gets on when we play it.
The whole body is finished in gloss, and it really is quite a gloss. Certainly one of the best I have seen without a single flaw I could find. On that dark wooden back, it really is like a mirror. A serious fingerprint magnet though!
Looking inside and things are impressively tidy. The kerfing is notched. aNueNue specs suggest that this instrument is braced using a 'Mount Fuji voiced brace design' designed by luthier Mitsuta Morihiko. I will level with you to admit that I have NO idea what that means. If the bracing pattern is different (which it may be), it's impossible for me to see it... The back braces are visible and to me look pretty standard.
The neck is made from mahogany with a joint at the heel and a hard to spot joint at the headstock. It's finished in satin meaning it doesn't feel sticky and has a pretty slim profile (that is to say, slim in depth not in width). I really like the shaping of the neck heel on this which seems different enough from the norm to warrant a mention. For those interested, that nut width is actually 1.5 inches or 38mm, putting it on the wider end of the scale alongside Hawaiian K brands. That's another thumbs up for me.
Topping the neck is a deep black ebony fingerboard that is flawless. The edges are bound which hides the fret edges too.
We have 20 nickel silver frets in total, with 14 to the top shoulder and 17 to the lower shoulder. They are all dressed perfectly and the edges hidden by binding on the edge of the fingerboard. The frets are what I would consider in guitar circles to be of the more vintage jumbo style. That isn't to say they are high (quite the opposite) but that they are fatter than most you see on ukuleles which seem nothing more than thin fuse wire. These are immensely comfortable. The sort of frets that do their job but your fingers don't really know they are there. Wonderful.
Fret markers are provided on the face of the fingerboard at the 5th, 7th, 10th, 12th and 15th spaces. They are made from what look like more of the inlaid spalted maple and are wonderfully shaped as moon phases as you move up the neck - the moon getting progressively more full as you go up. What a nice touch. Even better, the position markers are repeated on the side in small white dots for the player.
Past the bone nut we have what I think is now the generic aNueNue headstock. I like that it differs from lazier designs like three pointed crowns, and I like how it is finished (ebony facing cap, aNueNue logo inlaid in pearl)... but, is it wrong of me to say this? Compared to the rest of the instrument it kind of looks a bit plain to me. There is absolutely nothing wrong with this headstock, but I just thought it perhaps needed more of the moon or bird logic applying to it. Minor gripe!
Flipping the headstock over and all that is forgotten when you see they have provided Gotoh UPT planetary tuners. These are SERIOUSLY good tuners, and provide all the benefits of gears in a form factor similar to friction pegs. I was so pleased to see these and the black metalwork also looks a treat. Elsewhere on the headstock we have the holographic sticker of authenticity.
Completing the deal are what aNueNue call 'Black Water' strings (which I assume are black flurorocarbon, they certainly feel like it) and what is probably the best hard case that is included in a deal I have EVER seen in my reviews. It's finsished in a dusky blue leatherette tolex that is padded and soft to touch everywhere. The hinges and clasps are superb quality and finished in aged brass and also lockable and all the edges are stitched. The handle is amazingly padded and the velour inside is just beautiful. At the top of the case is a stamped aNueNue logo. I really REALLY love this hard case. In fact if I could get away with filling this review with pictures of the case I would!
And for all of that you are looking at a dealer price of around £1,148 in the UK. You can push that price up as aNueNue offer it with a couple of pickup options, but this is the base acoustic price. A serious price for sure, setting it alongside high end tenors like Kamaka and Kanile'a, but does it play like a serious ukulele? And yes, I can hear traditionalists falling to the floor saying 'that much for a non US instrument?', but I hope we can deal with that myth too.
First up, I think you have probably gleaned from my description and the pictures, that this ukulele is flawless in its construction. Seriously, I cannot find anything wrong with it at all. It feels comfortably solid and well made and whichever angle you look at it it's warm, classy, smart and just wonderful.
Thankfully, in the hands it doesn't disappoint either. It's not heavy, but doesn't feel flimsy or overly delicate either. It's also wonderfully balanced to hold.
Without a doubt, the first thing that strikes you when you play this is the stunning volume and projection. This is a loud and strident ukulele. In fact one of the most forward ukuleles I have ever played and up there with something like the Blackbird Clara. It's staggering in fact and really surprising. Maybe there is something in that bracing, but certainly that large lower bout is assisting here. That isn't to say it's a one trick pony on volume though, as it is just as easily played softly. But if you give it a heavy strum you really will rattle the windows. Marvellous!
But as I always say, volume is nothing if the tone then disappoints. Thankfully the quality shines through here also. It's a complex and varied town that reacts wonderfully depending on how you play it. For a start it has bass if you need it. This is strung in re-entrant G so that surprised me too, but what is coming through here is the range it has. It's a rich, rounded tone when you strum or pick more pronounced on the C string or lower positions. But it's balanced out perfectly (to my ears) by the soaring ring of the higher strings, particularly if you move up the neck. It's quite remarkable really as it never seems to miss a beat no matter what you ask of it. Want soft and sweet? It can do that. Want punchy staccato? ? It can do that. Want wonderful lingering sustain? It can do that. Want both together? It can do that.
Never do you play this one, whether strummed or picked and find that some of the notes are lost in the mix. They all sit there bright and clear.
It's all about the clarity of tone and dynamic range with this one. A ukulele that can be as soft as a kitten if you want it to be, but equally can turn into a wild tiger with the right treatment. I suspect part of it is down to the size of the body, but also it's the natural brightness of spruce mixed with warmth provided by the rosewood back and sides. Whatever it is, it works.
Let's cut to the chase...this instrument is an absolute delight and hands down one of the best instruments I have EVER had the pleasure of featuring. And from China too... Yes China have made some shockingly bad instruments at the cheap end, but things have moved on at the higher end massively. This is a stunningly good ukulele and I don't care where it came from.
Boy... this has been a hard review to write. Am I really giving this the best score on Got A Ukulele ever? Well, yes, I am. It's close, but it IS the best. I have played a LOT of ukuleles but not all of them, so perhaps there is a better one out there. But I can only write as I find and this ukulele is wonderful. I want this ukulele!
And as I also said - i'm delighted that since my last aNueNue review to learn that my home country now has a dealer where you can buy these direct. Just head over to World Of Ukes and speak to Matt who has had these exact models in store!
Body shape which is traditional yet different
Superb (and I mean superb) finish
Nice theme with moon motifs
Excellent build quality
Staggering volume, projection, sustain
Bright / deep / firm / delicate - it can be all those things - excellent dynamic range
Wide nut and comfortable frets
Marvellous hard case
UKULELE CONS
None, seriously..
UKULELE SCORES
Looks - 9.5 out of 10
Fit and finsish - 10 out of 10
Sound - 9.5 out of 10
Value for money - 9 out of 10
If you enjoy this blog, donations are welcomed to allow me to invest more time in bringing you ukulele articles. Aside from the Google ads, I don't get paid to write this blog and for reasons of impartiality a not sponsored by brands or stores. Your donations all go back into the site to allow me to keep bringing you reviews, and in the end the ukuleles acquired are given to local schools and charities.
