Ukulele Capos Roundup - REVIEW

An accessory that I haven't really talked much about on Got A Ukulele is the Ukulele Capo.

It's something I am seeing more and more of, so thought it would be good to do a roundup review of the main styles available.

Clockwise from top left - Shubb, D'Addario, Chord Trigger

So what is a capo? Well it's short for 'Capo d'astro / Capotastro' and is a device used on stringed instruments to deliberately shorten the scale length of the instrument. In essence it's a clamp that can be applied to one of the fret spaces to raise the key of the instrument when played open by effectively moving the nut down a selected number of spaces. It's used to transpose a sequence of music up in key whilst allowing the player to use the same chord shapes.

Now, I personally haven't really seen the need for ukulele capos. They are popular on guitar, but then the guitar has a much wider fretboard, is harder to engage the strings and has six of the blighters. On the ukulele however, I've never found it all that complex to use natures own capo - the first finger - to barre the neck and do the same job. But the spirit of Got A Ukulele has never been to tell people that 'you can't do that', and as I say, I am seeing an increasing number of people use capos, and not just beginners either. At the end of the day, they are convenient!

For me, there are various elements to a ukulele capo that are important to take into account.

First thing is the size of the capo. I shudder when I see people saying they use a guitar capo - that would be an incredibly bulky thing to clip on the neck of such a diminutive instrument. In short, you want a capo that doesn't intrude on your left hand technique.

Coupled with that point is weight. I have an intent dislike for ukuleles that are unbalanced and heavy in the neck. If you are playing without a strap, they always feel like the neck is trying to drop to the floor and it's an uncomfortable experience. Adding weight to the neck of an instrument can only cause problems in that regard.

And finally we have to think about ease of use and price...  So I've gathered together a few types here that I think represent the most common capos you will find on the market.  There are others, but they are all just variations on a theme.

First up is a generic trigger style capo, often referred to as a Kyser (although, in actual fact, a Kyser capo is quite different, but it's the same general principle). This model is made by Chord but these sort of capos really are ten a penny in all sorts of brands, and all do the same thing. It's basically a clip that acts like a clothes peg, with a spring to keep it in the closed position. There are a number of positives with the trigger style capo. They are cheap (this one retails at about £5), they are light (this one is 17 grams) and they are super easy to attach and move up and down the neck. You can even clip them to the headstock when not using them and they naturally fit all depths and profiles of neck without adjustment. I like all of those features, but this sort of style is just not something I can get on with to be honest. You see, when in place and fretting in the low positions with your hand right next to it, I find it gets in the way. Those sharp edges and sticking out bits catch my hand when in use. It's damn annoying. Your mileage may vary as your hand size and technique may have something to do with it of course, but these are not for me.

Trigger style ukulele capo

Next up is an old favourite in the guitar world with a ukulele capo made by Shubb. These clip capos have been around on guitars for years, and they are incredibly popular. The simple reason is that they are tough as old boots, simple to use and unobtrusive when in use.  So I was delighted to see a ukulele version, which is similarly made. The Shubb uses a clever hinge to lock it in place, but it does take some adjustment of the screw to set it for your particular depth of neck. It's clever though and very well made. That solid construction though comes at a price as they are HEAVY. In fact, this Shubb weighs a whopping 51 grams, which for me is a heck of a lot of weight to be hanging on the neck of your instrument. (EDIT - I have been informed that Shubb make a 'Lite' version of this, but it is still the heaviest of these three at about 28 grams).  On the plus side though it's easy to use (though not quite as easy as the trigger style), and when in place is folded down into a small area so it really doesn't interfere with the fretting hand. You may however wince when you realise that the price of around £17... For me though it's all about that weight. A nice idea that is perfect for the guitar, but totally over-engineered for the ukulele I think.

Shubb ukulele capo

Finally is the kind of halfway house that is more of your manual style capo. This one is from D'Addario / Planet Waves. At about £17 this is also not cheap, but it's very well made from lightweight aluminium. In fact it's the lightest of the three looked at here, weighing a meagre 14 grams. And in addition to not noticing the weight, when it is in place it takes up so little space that you don't notice it when playing either. In fact it is far smaller than the Shubb. There is a downside though. The D'Addario is attached by adjusting the rear screw to open the capo like a vice, and then tightening it when in place. It means that swift changes of position can be fiddly, and if ever there was a capo that was going to get lost on stage - this is it! It's just not as straightforward to adjust as the other two.

D'Addario ukulele capo

So as you can see, there are compromises with all three. Personally I can live with some of those downsides, but weight and the capo interfering with my playing are two that I would want to rule out absolutely. For me then, the D'Addario is the only one I would live with. Sure, it is less user friendly to move about, but when in place it's almost like it isn't there. And that has to be the most important thing I'd say.

Of course, you could also make more of your forefinger, or, if you don't like the cost of these things, revert to the old guitarists trick of placing a stubby pencil on the fret space and looping an elastic band between the two ends around the back of the neck. (Trust me - it works).  But seriously, if you don't like capos, that's fine. Don't shoot those that do though - we don't want another strap / plectrum debate...

Video below to see them in action.







VIDEO REVIEW




© Barry Maz

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A New Ukulele Store - World Of Ukes Goes Live!

'Why don't you have more stores listed on your Shops page?'...

The reason for that is simple. That page is just a listing of stores that I have either had first class experiences of myself, or I have had reviews of such an experience from people I implicitly trust. That list hasn't really changed much for a while, which is sad, but I was thrilled to see that recently we have a new one - World of Ukes!

Credit - Matt Warnes

You see, despite there being lots of 'shops that sell ukuleles' around the globe, in my experience there are precious few that I would call a genuine 'ukulele specialist'. Sadly many of those 'shops that sell ukuleles' tend to be mass market type places who jumped on the bandwagon becuase they saw the ukulele getting popular. Yet their walls are adorned with lots of rubbish and you would be lucky to find a salesman who knows how to tune one. And that's why my listings are not very long.

And none of that can be said of Matt Warnes, the brains behind the new World of Ukes store in the UK. You see Matt had already taken the ukulele to his heart at the Brampton based Omega Music, had set up the Ukulelevents (the people behind the Big House and Big Boat events), plays in Feckless Fuddle and The Prince, and then also created the UK's first dedicated in print ukulele magazine ( UKE Magazine). It would be fair to say that he is rather passionate about the instrument!

So as if that lot wasn't enough, Matt decided to take things a step further and create a dedicated ukulele only music store (the first one in the UK to my knowledge) in his hometown of Carlisle. Just ukes, ukes ukes. Walls of them.

Credit - Matt Warnes

And not any old ukuleles either - Matt has clearly gone for a more serious selection of instruments for the discerning player. That isn't to say there aren't things for everyone, but, how can I put this... there isn't a section for cheap Mahalos... His current line up includes ukuleles from Kala, Pono, Imua, aNueNue, Risa, Kiwaya, Uluru, Mabuhay, Antonio Carvalho, Ohana and their own line of World of Ukes instruments called the Pioneer.

Despite him holding what looked to be a great opening night of the physical store a couple of weeks ago now (with performances from Dead Mans Uke, The Mersey Belles and Liam Capper-Starr), I've been holding off on writing this post until his online store was fully ready. It now is!

You see, as much as people like visiting a store, and by the look of the photos, it looks to be a great place - space, walls for different brands, comfy chairs, quiet space to play, coffee, free gin (I lied about the free gin, sorry), there are many people out there who rely on internet orders as they may not be able to travel. And if you are going to offer an online presence, I think you need to get certain things right. Thankfully it seems Matt is offering just that, as every uke will be set up before shipping, and if you want one he will add a strap button for free (nice touch). Even better, shipping is totally free for any country in the EU.

Credit - Matt Warnes

Plus, with all good online launches, there is an money off opportunity I can tell you about. Enter the code LAUNCH10 before the end of October for a 10% discount!

And how can I be so positive about a new venture like this? Well, I already know Matt, and lots of us do in ukulele circles. I have experienced his great service from Omega music and know he has the instrument in his blood. That's good enough for me!

And I for one am pleased that despite things being fairly static for a while in the list of shops I recommend, that we now have a new one. Now for that trip up the M6!

http://worldofukes.co.uk

Fancy taking a trip there? Programme your sat-nav!

World of Ukes
48 Cecil Street
Carlisle
CA1 1NT

Credit- Matt Warnes

© Barry Maz

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How Do I Play The Ukulele If I am Left Handed?

Here's another question I get emailed about a surprising amount of times.

'Hey Baz, I'm left handed and wanting to learn the ukulele. What are my options?' The eternal stringed musical instrument conundrum!

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Don't Be Afraid of Alternative Ukulele Key Tunings

Something I realised I hadn't written about in my ukulele beginners tips section

And that of using alternative tunings on the ukulele. Then I seemed to get a flurry of questions on email from readers who were experimenting with new tunings on their musical instruments. Thought it was therefore about time to look at this in a little more detail. First up, one of the most common myths you will see written about the ukulele is that standard tuning is GCEA (or rather gCEA with a small g to signify that re-entrant G, or GCEA if you are using low G). And that's it.... People think that IS the way to tune a ukulele, or more particularly, the ONLY way to tune them.... But that actually misses some pretty important aspects aside from it just not being true.

Firstly, some years ago the more common tuning for the soprano ukulele was actually D tuning (which is ADF#B) and of course the most common tuning for the Baritone tends to be in G tuning (or DGBE). In fact, many banjolele players today will still use that D tuning as they prefer the sound and string tension. It gets more complicated when you realise that years ago the original tuning for tenor ukuleles was actually G tuning yet today most people go with C tuning and many Baritone players today go for C tuning.....   So no, GCEA is only the standard of common convention TODAY.

And what is common between all these other tunings is that they have the individual strings in the same interval relationship to each other. That is to say, they are effectively the same tunings but just in different keys either a bit up or a bit down in pitch.

What does that mean? Well for a new player, the most important thing to bear in mind is that because that relationship between the strings is the same in C, D or G tuning (or any other that has the same relationship), the chord SHAPES themselves will still work no matter what tuning you use. Of course, the shape you play will then play a different chord to the chord you get  in C tuning, but they still work as chord shapes. Understanding what those chord shapes then become is key to unlocking the ease of working with ANY other relative tuning.

What I hear most commonly from people who are reluctant to try alternative keys is that they 'don't want to learn a whole new bunch of chords' or 'i'm still struggling with this tuning'. In fact, it's that reason that so many people are now choosing to tune their baritones to C tuning or even playing sopraninos at the ear piercing, shrill a whole octave above C tuning. They are doing it because they think it gets complicated when you change and they prefer to play what they know. And this post is intended to show you that it really isn't complicated at all. In fact it's easy. You already know it.

First of all, you really just need to understand the musical scale on a keyboard..

Or even better, print off a copy of the Circle Of Fifths that shows the notes of the scale in an order separated by musical fifths.

A musical fifth can be heard by using a piano keyboard and counting up 7 half steps including the black keys. That is to say a total of 7 physical piano keys upwards.  (And why 5ths, and not 7ths? Well because the 5ths refers the 5 intervals, which in a perfect 5th is made up of 7 semitones!) So from a C on the keyboard graphic shown above, the fifth above it is the note of G, being 7 keys (or 7 half steps / semitones) up from the C.  Count them on the keyboard above to see. The next note in the circle of fifths, (and indeed all the notes work the same way) - 7 up from the G on the piano is D, 7 from the D is the note of A, and so on. Now do the same on the Circle of Fifths - you will see that because of how it is laid out, that 7 piano key step up from C to get G is immediately next to the C on the Circle. Likewise, the 7 piano key step from G to D - on the Circle, the D is next to the G. That's because the Circle is counting the fifths, or the 7 half steps! (Incidentally - the Circle Of Fifths is helpful in all sorts of other ways in music - such as transposing and finding chord relationships etc)). Oh, and for this purpose - don't worry about the inner circle - that's not used for this level of transposing.

Anyway, I said this was easy, so let's put the theory away and get back to re-tuned ukuleles. As I say, a common factor that puts people off is the thought that they will have to learn a bunch of new chords. Bear in mind though, if you know your chord shapes for GCEA tuning, you already know the chord shapes for other key tunings so long as you keep the relationship between the strings the same!

So lets look at the most common example - the move from C tuning to G tuning that players will face if they buy a baritone. We already know the  chords in standard C tuning (called C tuning after that third string) and we know the baritone is in G tuning (the tuning of the third string again). Looking at the Circle of Fifths, we see that the G is therefore a fifth up from the note of C, as indicated by the fact it is immediately to the right of the C on the Circle. (And yes, I know that Baritones are tuned lower than C tuned ukuleles, but it is still in the key of G and the Circle of Fifths doesn't alter between octaves). So we know that the G tuned ukulele is a fifth up from the C tuned ukulele or one space up on the Circle. It therefore also follows that every C tuning shaped chord played on the G tuned ukulele will be a fifth up, or rather, one space clockwise on the Circle. And knowing that, and having the Circle with you will unlock the simple way of transposing.

Play a C chord shape on the baritone - you get a G chord - one step round on the circle. Play a G chord shape on the baritone and you get a D (one space up on the Circle), play an A chord shape on the baritone and, you guessed it you get an E. And it applies to every chord shape you know on the C tuned ukulele - if you play that chord on a G tuned baritone, it will play the chord name of the next note on the Circle. Basically every chord will be the same step up as the G is from the C. (Incidentally, don't get foxed by minor or 7th chords - just use the Circle to tell you the root key - so  C7 shape on the Baritone, plays a G7 etc.)

And this works with any tuning so long as the string relationship is the same. I mentioned above the common practice of tuning sopranino ukuleles with C tuning but a whole octave above the soprano. I think it sounds shrill and overly bright myself and I therefore prefer to tune mine in F tuning (CFAD). I just think it's nicer on the ears. And once again people look in horror and say, 'but I don't know the chord shapes for that!'. You DO know them, for exactly the same reason as above.

Back to the Circle of Fifths - we note that the F is one step to the left of the C. Therefore, if you play a C chord shape on an F tuned ukulele you get an F chord. Play a G chord shape on an F tuned ukulele and again, using the circle to go one step to the left, you get a C chord. Play an A chord shape and you get a D. All of them being one step to the left on the circle. It works for all chords.

Want to go really exotic? - what about tuning to A tuning (EAC#F#) - I've never done that, but bear with me! Again, using the circle and we note that the A is three steps round to the right from the C. So playing a C chord shape will give you an A, playing a G chord shape gives you an E. And so on.

And that really is all there is to it. Yes, you could use a piano keyboard to work out the fifths sequence if you like, but just printing off the Circle (or memorising it) is so much easier. Use the circle to work out the relationship between the chord shapes you already know in C tuning and the key you want to tune to - and that difference in numbers of steps left or right from C  on the Circle can be applied to all the chord shapes.

I hope that helps and I really hope it means that people will stop being worried about moving to Baritone. Heck, I LOVE Baritone ukes and they are no harder to play than any other! Bear in mind that this article just deals with changing the key tuning of the ukulele whilst keeping the string intervals the same,  and doesn't apply to other more exotic tunings like dropped strings and open chords, but I may save that for another post! Have fun!





© Barry Maz

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Why The Fear Of Changing Ukulele Strings?

Not done a rant on Got A Ukulele for a while,

but a few discussions regarding changing ukulele strings on various social media channels lately brought me back to thinking about the real fear some people have in changing uke strings.

This isn't intended to re-hash the arguments over 'when should I change my strings' or 'what's the best brand' as I covered that subject before here. No this one goes back to something far more fundamental - and that's the increase in the number of people who really panic or avoid changing their strings altogether.

By way of some examples, these range from the 'oh I still have the same strings on that were on the uke when I bought it two years ago as I don't fancy changing them' to the 'I broke a string, but I had to take it to my club / friend to get them to change the strings for me'. Most bizarrely of all is an increase in the number of people reporting that they actually choose to PAY someone to change their strings for them. In one discussion I saw a guy explaining that he was paying around $30 for a string change because it gave him 'peace of mind'. Seriously? Sorry, to me that just seems completely crazy, particularly when you consider how easy it actually is.

You see, when you choose to play a ukulele (or any stringed instrument for that matter), you really need to understand that you WILL need to change strings at some point. At some point they will either just become impossible to tune properly, or at some point a string will snap. Fact of life, they don't last forever.

More importantly, strings are MEANT to be changed on a ukulele. They are consumables. They are meant to come off and go back on. And surely as part of your decision to start learning the ukulele, alongside other practice regimes you put yourself through, surely surely the practice of changing the strings on your instrument should really form part of that learning? Think of it as like the importance of knowing how to change a wheel if you buy a car, changing the  fuse in a plug if you are a homeowner, changing the ink cartridge in a printer, or even changing a light bulb. Granted, those three things have different difficulty levels, but here's the thing - changing a ukulele string really is right there with changing a fuse or a lightbulb.

And there is something else to string changing that I think is important and isn't often talked about. The process of doing it will work wonders for your connection with the instrument and how it works. You are getting right into the heart of what makes the ukulele play and getting hands on with your instrument. Add to that, the process of tuning up from scratch and it really is a good bonding exercise with your uke. Seriously.

I am interested in where this 'fear' comes from that pushes people to foist their ukulele on someone else to do the job for them. At the end of the day, changing a string only requires one knot and a bit of winding at the other end. You are not going to damage the ukulele, and nothing is going to happen that cannot be simply reversed. In fact if you get it wrong (and first time, you probably WILL) the worst that can really happen is that you snap the new string and have to get another, or at the least it will ping out of the bridge or peg and scare you half to death. (That still makes me jump..) Not really a big deal though is it?

So what are the biggest challenges that people worry about? Well the first is the bridge end of things. 'Oh, I can't understand those knots...' Really? With a slotted bridge it is simply a case of tying a granny knot (or perhaps two) that are big enough to not let the knot slip through the gap. With a tie bar bridge, granted the knot looks a little more complicated, but it really isn't. In fact it's just a granny knot too with a couple of extra winds. In fact in the world of knots, the bridge knots on a ukulele are significantly easier than tying a bow in a shoelace.

The second challenge is the 'but they keep slipping off the tuning peg' point. This does happen, but the simplest way to stop that happening is to actually tie the string to the post.  That is to say, pull the string all the way through, then feed it back through the hole and pull it tight - then start winding the strings. There is no way that is going to slip, but it can look a bit messy. With practice though you will learn how to get the wrapping right so that the coils themselves lock the string firmly.

I suppose the other fear is the 'but they just keep going out of tune' point. Yes, yes they do. Nothing I can say will change that, it's perfectly normal and you haven't done anything wrong. It just happens. Leave the ukulele tuned up a step or play it hard and keep re-tuning. They will hold eventually. This issue affects EVERY single person who has changed a string, so it's nothing to panic about.

Don't ge me wrong, string changing is a chore that nobody really enjoys, but that isn't because it's difficult. It's because it's boring and takes a bit of time! But I would still encourage any new player of the ukulele to start practicing this early. Get a new set tomorrow and put them on. If you go wrong, take them off and try again. And again and again. Get it right? Take them off and do it again, and again anyway. Trust me, you will soon see it as a shoelace and wonder why you were avoiding the process.

You may have already seen that I did a couple of videos regarding string change knots at the bridge (both tie bar and slotted types) which may help you below. But the best way is just to get on with it! I do wonder sometimes though whether ukulele ownership should come with a Compulsory Basic Training course!






© Barry Maz

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Making a Case for Ukulele Cases

It's something in the ukulele world, in fact actually something in the musical instrument world generally that has always made me think.

Why don't ukuleles come with cases as a matter of course? Do we have a strong case for cases?

Whilst there are of course some exeptions to this rule, it's fair to say that the majority of new ukuleles won't come with a case unless one has been added by the dealer as part of a store package - in other words - they don't tend to come with cases from the factory. And I wonder whether they should.

The other observation I would make is that the vast majority of ukulele buyers getting hold of anything above the cheapest of the cheap instruments, tend to look to get a case. It's a given. On that basis, wouldn't it be helpful for the brands to include one? I mean, the players are going to get one anyway!

First of all, I am not naive to what is going on here - a lot of ukulele manufacturers would like you to pay more to get one of their cases - it's more business for them.  And I suppose, yes, it's the same as all sorts of things. Apple want you to spend more on a case for your iPhone, camera manufacturers want you to spend more on a case for your new camera. But just because it's the norm... you know... meh. That annoys me too.

And I am not suggesting that they should be free at all, but it stands to reason that the stronger buying power of ukulele brands would surely enable them to include a case with their ukuleles for a lower total price than we customers could buy the two items separately, so why not? They still sell their ukulele, plus a bit extra for a case and everybody is happy?

To be clear, what am I talking about here? A hard case? No, not necessarily. I just think it would be great if the 'norm' when you bought a ukulele was that it came with a branded good quality gig bag. I actually dont think it should blow the budget either - I mean Mahalo include a really nice zippered bag with pockets and straps on a solid wood ukulele and still keep it under £80. And it's not only the cheapest brands - Godin include a really nice padded gig bag with their MultiUke, Martin do with their Koa series and Kala do with their travel series (but sadly not as a matter of course with their others unless you get an Elite.). Fleas used to come with their own bags, but to the best of my knowledge they then started making them an extra. I think that's a crying shame.

But,  there is another angle to this. The constant drive from customers to get the absolute cheapest they can get - because after all, as the myth goes - 'The ukulele is cheap'....    A ukulele without a case even if it was only £1 less in price would sell more than one with the case because so many people shop around to get the absolute lowest price they can. It just seems to be the way it is, and it's the same mentality that sees people buying badly set up instruments from Amazon, because they are £1 cheaper than getting one from a bricks and mortar ukulele specialist...

But if you are going to end up buying one anyway, and you will then probably end up spending MORE anyway to get the two items separately - wouldnt you accept, say, a £10, £15 or £20 premium on an instrument if you knew they came with a decent branded gig bag? It wouldn't bother me.

You may say 'but I dont want a gig bag, I'd only get a hard case anyway' - but still, I am not talking a huge premium here and you'd still get a case that would come in handy I am sure. Heck - having them arrive in padded gig bags would probably make for safer postage and delivery too! Even better - offer them with an included gig bag, but offer an inflated price version and include a hard case!

So I say, lets make a case for cases - come on brands. Some of you are doing it, but don't you think it would make sense for all? Nothing hugely fancy, nothing hugely expensive, but something protective and something you can advertise your brand name on? Given the choice of two similar ukes, I'd almost certainly go for the one that comes with it's own case.

But maybe it's just me...




© Barry Maz

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UKE Magazine Awards with Got A Ukulele

For some time now I have talked on Got A Ukulele of my praise for the UK's first and only 'in print' ukulele magazine called UKE Magazine.

The reason for that is simple - I think it's a damn fine read put together by a chap who really knows and understands the ukulele world.

I'm delighted therefore that Got A Ukulele is associated with the Uke Magazine Awards that have been launched in the current issue. Working with editor Matt Warnes, we came up with a range of categories for the awards, namely:

Best UK Ukulele Artist

Best International Ukulele Artist

Breakthrough Ukulele Artist

Best Ukulele Live Act

Best Ukulele Album or EP

Best Ukulele Festival

Best Ukulele Club or Jam

Best Mainstream Ukulele Brand

Best Professional Ukulele Brand

Best UK Ukulele Luthier

Best Ukulele Accessory

Best Ukulele Strings

The details are announced in the current (Issue 7) of Uke Magazine, and the results are ALL down to the readers. Following the instructions in Issue 7, readers are invited to make their nominations in the categories from anything they choose. We will then whittle down the entries and in Issue 8 a shortlist for each will be announced and readers given one vote for each category. Issue 9 will announce the lucky winners!

Credit - Matt Warnes / World Of Ukes

And aside from that, Issue 7 has some great content in any case, including features on James Hill, Manitoba Hal Brolund, Hester Goodman and much more!

You can grab a copy direct from the World Of Ukes site or, handily via Amazon on the links below.

http://worldofukes.co.uk

© Barry Maz

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Jake Shimabukuro - Nashville Sessions - Kilauea

I really have no words to describe this ukulele video from Jake. I'd just say this. The bar just raised many notches. (Thanks so much to Mary Agnes Krell for bringing this to my attention)

OK - stop press - I shared this originally whilst still slightly in shock - just wanted to share it. Initial reactions:

1. I have not been a huge fan of Jakes earlier traditional output myself. That's ok, don't shoot me - just different tastes. It was certainly supremely talented, but didnt do it for me. THIS will not do it for traditionalists, but DOES do it for me. I love how music does that!

2. He is not the first to go rock / blues / freeform jazz on ukulele - however, I have NEVER seen it so original, so fluid, so 'different' than this. Some people just do Jimi Hendrix covers and say 'Hows that'. This is FAR from a Jimi Hendrix cover. I'm also staggered by the amount of people saying 'it's just effects pedals - seen it before'.. LISTEN to the music - the phrasing, the touch, the musicality. Doesn't matter that there are effects pedals - it's about far more than that. This is NOT just a guy with effects.

3. Wow

4. Wow....

5. MOST IMPORTANTLY - I know some people wont like this. Some people will. That's cool. If you only like certain styles of music THAT IS COOL. That is ALLOWED.  Some people like both. Music isn't a binary thing. That's what makes music so wonderful - we are ALLOWED TO LIKE DIFFERENT things. If however you are the sort of ukulele player who likes to DICTATE and tell others that certain things should never be heard on ukulele.. I say this.. who the hell are you to tell other people that? I hope this piece gets under your skin!

© Barry Maz

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UK Ukulele Festival Overload?

A difficult and contentious topic this one, but one I am seeing discussed more and more on social media. Are there too many ukulele festivals in the calendar year?

Some will immediately agree with that statement, some will recoil in horror. I would like to think that Got A Ukulele has established a name for itself in not shying away from the difficult subjects and doing a certain amount of telling it like it is. I think it would therefore be wrong of me to avoid the subject. Bear with me....

Regular readers will know that for the last few years I have been compiling the Ukulele Festival Calendar on this site. Even a swift glance at it will show you just how many festivals there are these days. Pretty much one per weekend through the summer months and in several cases, more than one on the same weekend. I should also just make clear that I think the congestion is related mainly (if not solely) to the ukulele festival scene in the UK. It's not anywhere near as busy in mainland Europe, and whilst there are a lot of festivals in the USA, that kind of makes sense as the country is so large.

But the UK is a small place geographically, and has a small (ish) population, so when you have one per weekend (or more than one) so consistently, and ultimately not that far apart in distance - is there a danger of the whole thing becoming overloaded?

There are several ways of looking at this, and clearly there is a clear distinction between the artists that perform and the punters that go to watch.

For artists, naturally they WANT to play festivals and be heard. It's what they do, and if not their actual job, it's certainly their devoted vocation. It's totally understandable that they want to perform and perhaps in that sense the more the merrier? Perhaps. But I actually think there is another angle worth considering and that surely has to be over-exposure on the circuit? If you are the sort of person that likes to go to lots of festivals, having the same acts on the bill of each one would (for me at least) get extremely repetitive. I prefer variety and certainly wouldn't go to non-ukulele music festivals if they all had the same acts each time. Perhaps the artists themselves are aware of this and try not to appear everywhere, but I guess it's hard if you are doing very well and every festival is asking you to play. Artists dont like turning down gigs!

There are also a couple of angles on the punter side of things. On the one hand a large number of festivals spread around the country gives more people a chance to go and see one without ridiculous travelling times. In fact some people struggle with travelling full stop, so perhaps one in every town makes sense. There are people who adore filling their summers with festival after festival, and for them, the calendar is a real treat. On the other hand though, there are the people who are still addicted to the ukulele and for whom going to quite so many events would just not be financially possible. These things cost and it certainly adds up. So perhaps having so many becomes a temptation they just can't realise, and then find themselves bombarded on Facebook with pictures of their friends enjoying what they couldn't justify. I know a few people in this camp and feel 'left out'  by not being able to go to more.

And aside from the artist / punter side of things, it's worth considering another important point. Just how many ukulele receptive audience members are there in the UK? The answer to me is clear, but it also is an answer that many people I dont think actually want to hear. Whilst I dont know of any reliable census information to be definitive, it is surely a fact that the number of ukulele players in the UK is TINY compared to general music fans. It's a niche thing, pure and simple. If you are within the bubble it may be hard to see this, but it's true.  This is no Glastonbury (175,000 attendees), or even something more niche like a folk Festival (Cambridge gets an estimated 10,000, Cropredy and estimated 20,000). No, ukulele festivals tend to attract anything from small multiples of 10, through to a few hundred and in the case of the biggest ones, perhaps 1,000 or so. These are small numbers of potential customers, and expecting those numbers every weekend of the year (pretty much) is a big ask I would say. And at the rate that the small festivals are developing into big ones, I just dont see how the audience numbers are sustainable for everyone.

Looking back a few years, there were still lots of ukulele events around, but as I say, it's the scale of the festivals seems to have changed in the last 1-2 years. In the past you had a couple of large festivals and then a host of smaller, often free or charitable events in towns and villages around the UK. The larger festivals had the bigger names, often international players included, but the local events served to showcase up and coming talent and local clubs more (I even ran one myself). All were enjoyed, and there were far fewer cases of people having to think 'which ticketed event do I choose to go to'. These days some of those local events still happen, but they now also find themselves competing with a big increase in larger, ticketed events themselves. And if you are running a ticketed event you DO have costs. You are either needing to make money, or in the case of many, not make a profit but to avoid LOSING money. And to not lose money means getting people through the door. And so lies the problem. We have a finite number of weekends in the year, and a finite and small number of potential customers. Some will go to lots, but many can't afford that and need to pick and choose. And that surely puts pressure on the organisers with some struggling to get the numbers they need to avoid being in debt. That just seems a crazy situation. The concept of 'build it and they will come' just really doesn't apply when there is cost involved and the country is on the verge of heading into another recession. And bear in mind that in to 2017 it looks like the UK will be going into recession. There will be less disposable money around for most people, and the value of the pound in your pocket will be far less. All in all it's not conducive to the survival of so many large events.

Like all my rants, some people misconstrue them as me telling people 'what to do'. They aren't and it's sad that I need to point out that they are just discussion pieces that I hope make people think. And that's the case here. It's not for me, or anyone else to tell any festival team what to do, or tell small festivals that they can't grow. They can do whatever they like. I am however entitled to an OPINION of my own, and I have been saying this for some time. I personally think there are too many large events, and if they continue growing in the way they have in 2016, I think that will ultimately (and fairly swiftly) be to the detriment of all ukulele festivals. And that will affect both punters AND artists alike. And I think that would be really sad - both for punters and organisers. I'd love to wave a magic wand to allow every event to be over-subscribed, but that's impossible.

So what do I suggest? Well certainly more of the obvious - and thats COMMUNICATION between organisers. There really should be no need for events to clash with a bit of advance communication, but in fact clashing isn't the only problem here. Having large events week after week after week must surely affect which ones many punters choose to go to. I think that communication should extend to keeping the larger festivals spread out as much as possible. I know a few festival organisers and I know how much work they put in to doing exactly this outreach work. Clearly though, a look at the calendar shows that this doesn't apply to everyone. And if everyone is not playing nice, the system then falls down. It's the 'this is why we can't have nice things' argument. The few making it difficult for the many.

For me, in a country the size of the UK with a ukulele fanbase as big as I think it is, I would suggest (please - it's only a suggestion!!) that a couple of large festivals in England, plus one in Scotland, and one in Wales would be plenty. Then fill the rest of the year with smaller free events for local clubs to try to get on the ladder. Kind of like it used to be really....

And I'm having second thoughts about running the festival calendar in 2017. As much as it serves to help punters, I had always hoped that it would help organisers know what is happening where and when to help avoid congestion and clashes. Clearly that didn't work. No doubt it's been helpful for punters, but less so for organisers.

But as I say, it's not for this site to tell anyone what to do. I do hope though it creates some discussion and I would very much like to hear your own perspectives. Are you a punter that relishes the thought of attending something every week, or are you the sort that can only justify one and has to think very carefully about what to miss out on?

(nb - I am happy to take comments on this post, but any comments naming names on festivals wont be published. This is a general discussion post and not intended to target any particular events)

- STOP PRESS - 

I kind of knew that this piece would create some debate and difference of opinion. That was the point - to get those with differing opinions actually talking about it. Because there ARE differences of opinion. Sadly I am seeing those who think the number of festivals is 'just fine' are now deliberately scoffing at those who dare say different. Making out that because I  dare to question what we have is in some way troublemaking. This morning this led to one festival organiser claiming publicly that I am 'hoping ukulele festivals will fail'... The fact that this piece has the intention of avoiding EXACTLY THAT happening, seems lost on people. That's not only pretty stupid, but it's pretty hurtful.

Yes, of course - if you love going to lots of ukulele festivals, of course you will support the busy calendar - the blog post even SAYS that as being a valid point of view, but to just ignore any contrary position as not being relevant is crazy. I've had direct comments in praise of the piece from people who say they have been 'totally put off' ukulele festivals full stop because of the repetitive nature of events. And I've had even more messages of support from people who simply cannot afford to go to more than one. And that final point was perhaps my main concern - you can bleat all you like about how great it is to have lots of festivals, but if they start losing money because they cannot get punters through the door, you will soon have very few again....

© Barry Maz

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Got A Ukulele Gets Around

I was delighted to see this picture appear on Facebook the other day for a whole heap of reasons, and not just because there is a Got A Ukulele T Shirt in the picture!

Credit - Liam Capper-Starr

First of all - that fine fellow in the photograph is Paul Redfern - ukulele player and performer in one of my favourite outifts that I have featured on this site many times - The pUKEs!

Second of all, the photograph was part of a series of wonderful shots taken by another ukulele player, the supremely talented Liam Capper-Starr - performer in his own right and organiser of the much lauded Uke-East Festival. Incidentally - Liam has a new full album out now which you can find on that first link!

The third reason is a sadder one - it was taken at GNUF and I wasn't able to go. Still - nice when things from friends come together like this!

Thanks both!

http://gotaukulele.spreadshirt.co.uk

http://gotaukulele.spreadshirt.com



© Barry Maz

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How To Adjust Ukulele Action At The Saddle

A little while ago I put up a video explaining that any ukulele player should not be afraid of adjusting their instrument for optimum play. Ukuleles, like many stringed musical instruments are designed to have certain things adjusted to assist the player. It's called a 'setup'. For some reason it's an area that people are scared of but they really shouldn't be. That video is here by the way. (How To Adjust Ukulele Setup)

That was, however just a general introduction, and I thought it was about time that I actually did a demonstration video and written guide to look at one of these adjustments in a lot more detail. The action at the ukulele saddle.

The vast majority of ukuleles will come with a removeable saddle at the bridge end of the strings, and that is removable for a reason. It's the white strip, usually made of bone or plastic, sitting in the bridge mounting over which the tail end of the strings sits before being tied off. The bridge does a number of highly important things for the ukulele. Firstly, it transfers the vibration of the strings down into the soundboard. Secondly it sets the accurate scale length of each string - ie the vibrating length of the string for accurate intonation  when you fret them. And thirdly it controls the height of the string off the top of the fingerboard. This last point is called the 'action' and it's what we are looking at today.

Often a ukulele can arrive with an overly high action, or can even develop a higher action over time as the stresses of the strings start to pull the neck up. They can also arrive with a low action. A high action makes it harder to press the strings down onto the frets at best, and if it is very high it can affect the tuning accuracy when played (the intonation). A low action can create buzzing as the action of plucking a string creates a wave down the length of it that can clip the top of the frets.

First of all, and contrary to many armchair expert advisors views, there is no perfect action setting that suits everybody. There is only an acceptable 'range'. And that is a range that gives the best compromise between playability and tuning accuracy. Go too high and you have the difficulty in fretting I mentioned above, and go too low and you create buzzing. One of the biggest myths is that you should set the action as low as you can go without buzzing. This is not particularly good advice as some very low, but non buzzing action settings can suck all tone and volume out of the strings. In short it needs to be a little higher than that. The point you go for is really down to you as a player. I know how I like my action (at the lower end) but not everybody does. The only way you will work that out is to try it.

What I find though is many players who have never considered adjusting their ukulele may be missing an opportunity. They struggle on with overly high action settings and think that it is 'just the way it is'.

So how do you measure your action? Well, you need to take a careful measurement of the distance between the bottom of the strings and the top of the 12th fret of the ukulele, this being the halfway point of the string. To measure this you really need to invest in a metal straight ruler with measurements that run right to the end of the metal so when you place it down at the tip you get an accurate reading. They are not expensive and available in all DIY stores for a few pounds. Even better you can use a string height ruler designed for stringed instruments which come with markings for common string heights in various formats. You simply hold the ruler on the top of the 12th fret and note the distance between the top of the fret and the bottom of the strings. You can check each one as on most ukuleles the fretboard is flat so they should be around the same (taking into account the different string thicknesses). (Note - if you do have a curved fingerboard, called a radius fingerboard, you will need to adjust for this).

What is the optimum? Well, like I say -it's a range really. That range depends on the string gauge and also how you play the ukulele. A more vigourous style of strumming will require a little more clearance to allow for the excessive string vibration.  For me a low action would be about 6/64ths of an inch (or 0.093 inches, or about 2.2mm). At the upper end I would go no higher than about 8/64ths (or ⅛ inch, or 0.125 inches or about 3mm). If you check your instrument and you are below the lower figure it is likely you are on the verge of string buzz or not getting the optimum tone projection and you you need to raise the saddle. If you are above the higher figure, you may be finding it a chore to press the strings down on upper frets, or are finding your fingers are getting tangled on strums or even having intonation issues.

Now for the adjustment downwards. You can take the long winded path of removing the strings, sanding the base of the saddle a little, replacing it, re-stringing it, checking it, then repeating it until it is right. You can also use a bit of mathematics to help us. Because the string creates a very long thin triangle between the saddle and the top of the 12th fret, if you find your action at the 12th is (say) 0.5mm too high, because the 12th is the halfway point of the string, taking down the saddle by double   that amount will lower the action at the 12th by 0.5mm. So it's a case of noting the height you are at, working out how much lower you want to take it, and then multiplying that by 2. That is the amount to drop the saddle by. Want to drop the action by 0.5mm, drop the saddle by 1mm.. and so on.  You can then mark that depth on the saddle with a pencil and a straight edge.

Now the tricky part - you now need to sand down the base of the saddle (leave the top alone!!) to just reach the line you marked. The trick here is to keep the base of the saddle perfectly flat. If you dont do this you will find that the saddle will dip back or forward in the slot, affecting tuning, or wont make a clean contact with the soundboard.  You can do this with a large piece of sandpaper on a hard surface working it slowly and monitoring what you are taking off. Even better is to put the saddle in a metal topped vice upside down with only the amount of saddle below your pencil mark visible. Even a cheap hobby vice will do as it's not a particularly strenuous job. You can then take a file, sandpaper or a Dremel to the base and be sure you are only taking off what you need. Sand it down, keeping it flat until you are at the marked point. I cannot stress enough how important it is to keep the base absolutely flat!

And that is it for a high action - replace the saddle and restring and you should be good to go. If you measured accurately you shouldn't face problems and your action will be lower.

Of course mistakes do happen though, so what if you go too low and create a buzzing? Or what if the saddle was too low to start with? Dont panic - this is easily remedied by simply putting a shim of thin card or wood veneer under the white saddle to raise it back up a little. You may need to add a couple of layers to get the saddle to the right height, and remember you can use that 'double the required height' rule. In other words, if your string action is 0.5mm too low at the 12th fret, raising it by about 1mm at the saddle will do the trick.

And if that lot has foxed you, I created another video that shows the process in more detail!



At the end of the day - the action should be right and there is no reason why you should struggle to play an instrument that is designed to be adjusted.  A well adjusted ukulele can be a revelation. I see some shocking examples that people battle with and it need not be like this. Sure, you can pay someone to do this for you, but really it is SO easy to do - why would you do that? Get to know your instrument!!

Just go carefully and logically and you should be fine.

And as a final (final) word - there are some instruments that dont have removeable saddles. Many plastic ukuleles do and some others with moulded or carved wooden saddles. I am afraid this process wont work for you, and if you have high action you have a far more complex job on your hands involving taking the top of the saddle down. I would urge lots of caution here as whilst dropping the top will work, it is very easy to throw the shape of the saddle top out and create tuning issues. I'd seek professional help for those! There are also some rarer features on some ukuleles that can assist with buzzing strings called truss rods running through the length of the neck. You really dont see many of those though and they are more for neck relief and NOT for adjusting action. I may deal with those in a future post.

Good luck!

(and if you want a string action ruler - it's one of those things that Amazon are perfect for.

String Action ruler - Amazon.com

String Action ruler - Amazon.co.uk )



© Barry Maz


WHY NOT DONATE TO HELP KEEP GOT A UKULELE GOING?





THANKS!

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The Ukulele and the Hawaiian Assumption

Going out on a limb on this rant, but then I have never shied away from the more difficult ukulele discussions (and nor do I think it is healthy for other people to do that). But I realised that I hadn't actually talked about this issue before. What is it with the assumption that we all need to prostrate ourselves to Hawaii if we play the ukulele? (Bear with me here - do read on before immediately jumping for the email button..)

I've been prompted to write this based on a couple of recent heated debates (and comments left on this very blog) that, to be honest, left me a little irritated. They were comments that essentially tried to guilt me (and others) by suggesting that I was NOT showing any reverence or respect to Hawaii, because I didn't feel the need to dress like one or speak like one. It's quite absurd. A suggestion of an automatic contract that you have to sign up to when you start playing uke. Surely that can't be right can it? I'm not from Hawaii - I was born in the rainy north west of the UK... Surely you can acknowledge the origins without being full on Maui about it?

Let's deal with some basics first. Of course, the ukulele is most commonly associated with Hawaii. That much is obvious because it was Hawaii that appropriated the instrument from the Europeans (possibly Portuguese, possibly Madeiran, possibly the Azores depending on which of many varying stories you believe) and gave it that name - a Hawaiian word. But note - 'appropriated'. The instrument already existed as a box with strings. So it was really only the taking up of the instrument and naming it 'Ukulele' which is the Hawaiian bit. And that was back in 1880's - there has been an awful lot of ukulele playing around the globe since then.

But fair enough - the ukulele IS most commonly tied to an origin in Hawaii. The instrument is revered over there and is intrinsically linked to establishing Hawaiian culture. It was promoted by the King and used in ceremonial royal events. The instrument is incredibly important to that society.

And I acknowledge that. Totally. But it really isn't being disrespectful if I choose to play one without taking up Hawaiian acoutrements to go with it. You see, I don't think that's how respect works.

Personally, I have more time for quiet and serious respect for any 'thing' rather than going the full on gaudy about it.

Take a cheap Chinese ukulele brand churning out terrible instruments that most Hawaiians would cringe at, made by cheap labour and in poor working conditions, but labelling their website and their boxes with Hawaiian flowers and pictures of surf boards. Is that respect? It isn't. It's just lowest common denominator marketing spin.

Is being a bloke or a lady from ukulele club being respectful by wearing an ill fitting Hawaiian shirt that was made in China together with some plastic flowers around his neck respectful? Perhaps, to some degree, but I suspect it's more about having a bit of fun with friends.

How about a brand of toilet paper / cars / anything using some ukulele music in their adverts to sell more product and choosing a Hawaiian style sound. Is that respect? No, just capitalist marketing again.

It's everywhere. The branding, the outfits, the song choices. And let's be clear - if you want to dress like that or you want to play a ukulele decorated in flowers then that is absolutely YOUR choice. But that is not the point. Doing so does not make you any more reverential to the origins of the ukulele than someone who doesn't.

Being disrespectful to Hawaii about the ukulele would be trying to re-write history to remove the connection of the instrument from the Islands, or have it re-named. That isn't actually as absurd as it sounds as when the islands were originally annexed by the US, what followed was a period where traditional Hawaiian culture and language WERE sidelined / not taught, and rather forcefully at that. But it's 2016. That really isn't the case in the modern world any longer and I think the chances of the ukulele losing it's connection to Hawaii would be slim to nil. In fact, the very fact that so many of us are playing the damn thing and the fact that I truly have never met anyone who didn't know it originated in Hawaii... well, I'd say that the respect to Hawaii is alive and well myself. Should we forget that history? Of course not, but I just don't think approaching the whole respect thing as some sort of weird cosplay event isn't my kind of respect.

Of course, celebrating culture and keeping traditions alive is important. I regularly attend UK folk festivals for (partly) the same reason. Those events thrive and in part are keeping alive very earliest British folk music traditions. It's the same thing and the events keep it alive.  But I dont dress like a Morris Dancer on any day of the week. It doesn't mean that I don't respect the history though.  Hey, I really respect the guitar too, but I don't speak with a Spanish accent or dress like Paco de Lucia.

And as the instrument continues to grow in popularity that in turn has allowed many Hawaiian names to go on to great success on the music circuits GLOBALLY. I've featured a few on this site. When arguably the most famous player of the instrument today is Jake Shimabukuro, a Hawaiian, it seems clear to me that the roots of the instrument are hardly being forgotten, regardless of how I pronounce it or what shirt I wear. The popularity of the instrument itself IS growing the pool of respect for the culture. How can it not?

Hawaii is clearly a very beautiful place (I have never been). It's also a place that automatically conjures images to me of happy people and a rich cultural heritage. This bloke from the rainy UK automatically thinks that and I believe most other people do to. I think I always have. In my mind Hawaiian culture is a wonderful thing and I would sorely like to visit. That automatic link with the ukulele and Hawaii is ingrained in all of us I think.

So, please don't tell me I am not showing enough respect because I don't choose to go with the faux adoration. Don't tell me that having spent years writing a ukulele site that specifically aims to encourage people to play the thing that I am not doing enough for the support of this instrument. And don't assume you know what I do and don't respect based on how I dress and speak.


You can read my many other rants on various topics surrounding the odd world of the ukulele on this link.

© Barry Maz

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Please Stop Arguing Over How Ukulele Is Pronounced.

How do YOU pronounce ukulele? It's an argument that has been running for years and years. I kind of hoped it must have run its course by now, but no. The 'what is the correct way to pronounce ukulele debate' is alive and kicking. I lose the will to live with it. Anyway, I thought it was probably time to nail my colours to the mast. (Or at the very least give me an easy to find statement that I can just share on the next discussion that I see going on and on).. 

Please note - this is 'irony'...

Only very recently on a very well known social media group this debate raged YET AGAIN and ran into around a hundred comments... In the red corner: Those who claim that it must be pronounced 'OOK-KUH-LAY-LAY' and in the blue corner, those who claim that it muct be pronounced 'YOO-KUH-LAY-LEE'. Both sides fight their corners with venom, some making quite outlandish claims and always with a sprinkling of 'i'm offended'.. And it's not the first time - many people witnessing the debate were shaking their heads thinking ' please...not this again..'

So who is right? Well, they BOTH are. And that is what makes the argument quite so ridiculous.

The Ook brigade are, in the main, traditionalists who choose to pronounce the name of the instrument in the native Hawaiian style. In fact, in Hawiian the instrument is spelled with an apostrophe type symbol before the U, so it reads 'Ukulele. That's called an 'Okina' and denotes that the pronunciaton should be a soft U, giving you the 'Ook' sound. Compelling huh?

Well, I cannot argue with the Hawaiian tongue as being correct, but only IF YOU ARE HAWAIIAN. If you are Hawaiian that is exactly how you will pronounce it because you are, errr.. Hawaiian. I am not. I am from the rainy North West of the UK.

You see, language is a quite wonderful living thing and it changes as you move around the globe. In fact it can change within regions of the same country. In the UK words like 'bath' and 'castle' will differ in pronunciation depending on which County you are in. It's essentially vernacular - and it relates to the common parlance of the district, region or country that changes the way words are pronounced. Put simply, a particular region of population will pronounce a word in the way that is most common for the area they are in. It's the same reason some people in the US pronounce words like Oregano, Aluminium, Duke, Zebra, Yoghurt, Semi, Vase, Buoy, Futile, Anti, Schedule, Herb and Garage differently to the way people in the UK pronounce them. Neither side is 'wrong' - they are just pronouncing words in the way that is most common in where they live. English speakers pronounce the name of the capital of France as 'Pah-Riss' whereas the French (and they should know) pronounce it 'Pah-Ree'. But both sides know exactly what they mean, and to the best of my knowledge they don't slug it out on social media groups arguing which is right. And they don't do that because they know how language works. They are just phonological differences, but the words still make total sense. And in fact, such phonological differences not only within different regions but also over time too.

Some people have surnames that are difficult to pronounce and get irritated when people get it wrong. I totally get that because it is your actual name. But it's completely different with an inanimate object and I have yet to meet the person who named the ukulele in person..

So with the ukulele, whether YOOK or OOK, the debate just rolls on and on and on and on (and on). I've seen people get quite upset by it and I've seen people suggesting it is in some way disrespectful or rude to Hawaiians to pronounce it any way other than the native way. What absolute and total nonsense. It's just a word and in the same way the French don't get offended by people pronouncing the name of their capital differently, neither should the Hawaiins be offended. (In fact, I would be surprised if true Hawaiians were actually offended, and they would probably just be pleased you played a uke - rather I suspect those who 'claim' offence are the sort of people who just like being offended... we all know someone like that).

Heck, Hawaii is part of the USA, but even some parts of the US itself pronounce it 'YOOK' so it's not even an 'America vs the rest of the world' phenomenon..

I saw one defence of the 'Ook' pronunciation as 'the Hawaiian dictionary gives the phonetic word soundings as it being 'OOK'. I am sure it does - why would it not? It's a Hawaiian dictionary! But in the Oxford Dictionary (the bastion of the English language in the UK) the pronunciation guide suggests it is 'YOOK'...  and so we go on.. (Incidentally, Websters and Collins dictionaries also both favour the 'YOOK' variety...)

But arguing the point based on reasonings such as those above is rather pointless.  These arguments on both sides  miss the understanding of language differences and vernacular.

I suppose it could be worse - the debate about the spelling seems to have died down (note - BOTH of these are technically correct for the same reason).

credit - Tim Harries

So please, come on.. - recognise that language changes around the world and over time. It's how it works. Nobody 'owns' it and so long as you are understood between other humans who speak the same or similar languages, that really is all that matters. We can all be right in our own way. Nobody is trashing your heritage or trying to be offensive. If you have your way of pronouncing it that differs to others, then that is absolutely fine if you are understood (whichever way you pronounce it). And if you think differently I will ask you whether you keep a buoy in your garage and whether your aluminium vase has herbs in it... in the British way... (and then get really offended if you don't sound like you are from Downton Abbey). Honestly, I really don't care how you pronounce it and neither should you...

(And if you are one of those people who think that you can only pronounce things the way the native speaker does - have you thought for a moment that you might be like this guy?)


EDIT - it's been said on Social Media (and in the comments below) that I am missing an important point here - I really dont think so actually. I DO recognise the arguments on both sides. I see them fully. I am not trying to belittle or wipe out either argument - the whole point of the post is that both sides of the argument are so strong that the debate is pointless. Neither side will win. Neither side will prevail and ensure that the other way of saying the word will stop. Yes some of those arguments can be powerful and can surround heritage and some horrible history. But ultimately, language is resilient to such things (and rightly so in my opinion). As such, the basic premise of the post stands as far as I am concerned. Before you choose to get offended - my view is - 'you are both right' but so what. Just play the damn thing!

And if you enjoyed this rant, you may enjoy my other ukulele rants here.  Some posts to read over coffee while you scratch the varnish from your desk with your fingernails in despair..


© Barry Maz

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Hey, What's The Best Ukulele?

Probably the question I see from beginners on forums and social media the very most - the extremely open question of 'What's The Best Ukulele'? Which Ukulele To Buy? It's probably the same in all musical instrument circles.

You see that question really can't be answered without more information.... if at all. Too many things come in to play to choose a 'best' of anything. What is your budget? What scale do you want? What are your tastes in looks (plain, traditional, fancy, modern, crazy?). Without knowing these things it's impossible to advise on what I think are good purchases. Asking 'What is the best ukulele?' is like asking 'what is the best car' or 'what is the best food?' It's totally subjective. If you see a site listing the 'best' then move on - quickly!

What I do is  provide a link to my ukulele reviews page with a suggestion that they have a browse, but to be honest, I suspect that some people don't really want to read through all of that to come to a view. A shame, but true. That is always up to date though and anything with a score of 8 out of 10 or more is worth a look. Still, people still dont look

So in an attempt to summarise in an easy to share single post, I looked back over my review scores and thought I would give my 'best of' for different price categories at the date of writing!. Even if you don't want to go through all my ukulele reviews, these are the ones that I (currently) think you should have a read of. And before you complain that something is missing - these are taken from the many instruments I have tested and reviewed, but only those - hard to make a recommendation for something I haven't played!

Think of this as the Got A Ukulele Awards.. Ultimately though - this is just a list of the top scores on Got A Ukulele for easy reference.  It is also time limited to the date of this post - ie MARCH 2016.. Be aware of that - other ukes HAVE been reviewed since!!

Got A Ukulele Best Instrument £0-£50

A difficult price point because there are genuinely so many bad ones around with poor quality control.

For me the first prize goes to the Octopus Soprano Ukulele - just remarkable for very very little money. Great sound and the neck is an absolute joy!

Octopus Soprano Ukulele

Runner Up: The Makala Dolphin - what else?


Got A Ukulele Best Instrument £50-£100

At this price point we are starting to get into the realms of instruments that are usually playable from the get go, with some truly nice surprises for what is, again, very little money. It's a close call at this price point for me, but I will give the first prize to the Baton Rouge Sun Series Concert Uke. A fairly plain looking affair and built from laminate woods, but seriously - great tone, great build quality, just really really great actually!

Baton Rouge Sun Concert Ukulele

Runner Up: Snail UKS-220 Rosewood Soprano


Got A Ukulele Best Instrument £100 - £200

This is the price point where the majority of my reviews sit. There is a clear winner, but the problem here is that they don't make this one any more. It's the Omega Zedro II ukulele which I found quite remarkable for the money. But fear not - Omega have replaced it with the Klasiko model which I hear is just as good.

Omega Music Zedro Ukulele

Runner Up: Several could have taken this spot, but I will give it to the Riptide Electro Concert (with an honourable mention to the John Daniel Pixie)


Got A Ukulele Best Instrument £200 - £500

Quite a price range this one, but this is where we start to get into serious territory. It's shared hours for me between the Big Island Koa Concert - so nice looking it featured on the cover of one of my books. Looks to die for and a beautiful delicate tone that I really really liked and the Pono ATDC

Big Island Koa Concert Ukulele

Runner Up: Again - several to choose from here, but I give it to the Pono MTD Tenor - just really really nice in every way.


Got A Ukulele Best Instrument £500 plus

An odd one here and one where I am clearly opening myself up to criticism - 'Hey what about Kamaka? What about Martin?' Well, as I say - these are just based on ukuleles I have tested. For me the winner is clear and I think it's a stunningly good instrument. First place goes to the Kanile'a K1 Tenor - no frills, but wonderful clear woody tones that still make me smile to this day.

Kanile'a K1 Tenor Ukulele

Joint Runners Up: Beltona Tenor Resonator - one instrument that has made me smile more than many others recently. The other one being the quite simply amazing Blackbird Clara. 

So there you have it - I will, in time, adjust this listing as new instruments get reviewed if they change the top spots. But for now, the next time I get asked 'What is the best ukulele', this is the post I will give them the link to!





© Barry Maz

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