I have a special fondness for banjo-ukuleles (cf. this 1920′ Gibson UB-1 Ukulele Banjo), as they are funky as hell, make great rhythm machines in old time string band music (providing the off-beat tchak-a-TCHAK accentuation), and are plain cute.
This 1930′ (or 1920′?) Clarophone (Gretsch sub-brand) is among the best banjo-ukes I’ve had the chance to put my paws on.
Specs-wise, it has all the good stuff. The pot is 7″, providing a big tone while not being woofy like the bigger 8″ pots tend to be. Scale lenght is 13.5″ (pretty much identical to the standard Martin soprano scale lenght). A lot of vintage banjo-ukes have much shorter scale lenght (sopranino), which imparts a cramped, toy-like feel. This one is “just right”. The original (and perfectly maintained) calf skin is graced with a hand written inscription: “Limee”. I’ve been told limees are how English immigrants are called in the USA.
The only non-original part on the instrument is a newer Grover bridge. String spacing is a wide and comfortable 1.65″ (exactly like what one would find on a Martin soprano ukulele).
The headstock sports an elegant three point Martin inspired shape, adorned with a subtle Clarophone silk-screened label.
The headstock back sports a Gretsch Americana stamp. Hot.
The tuners are top of the line Grover Champion pegs (OEM tuners for the high end manufacturers like Martin and Gibson). They work dandy and are beautiful pieces of industry. The back of the neck transitions into the headstock through a nicely carved rounded volute. BTW the neck is dead straight and is extremely comfortable. A lot of banjo-ukes from this era had “mandolin-style” necks (i.e., thin at the nut and very deep front to back), which are a bear to play. This one has a wide (1.35″) nut and a slim front to back profile, much like a Martin vintage soprano ukulele, providing ample room for the fingers.
The hardware is high grade throughout. The tailpiece is solid and practical (Gibson used a similar model on their UB line). The tension hoop is a massive ring of steel. L-shoes are thickly plated. All in all, the construction oozes tank-like quality.
The portholes are awesome looking and probably play a major role in the excellent tone of this instrument. The closed pot / porthole design produces a smooth and musical midrange and an excellent diffusion of the sound. This is a similar design to the Gibson UB’s screwed in backplates, although more elegant.
The only notable defect in the banjo uke is a crack on the back plate veneer. This is a structural non-issue since the back is made out of two plies of wood, and only the exterior one is affected. It does not bulge.
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