A - Yes, we still make Pono guitars. Still all solid woods, wood binding, bone nuts and saddles. Various sizes and styles, including a Mini Acoustic, L Parlor, O, OO, OM, Dreadnought, and Grand Auditorium.

Woods we use are Acacia, Mahogany, and Rosewood. And top soundboards are Engelmann Spruce, Sitka Spruce, and Western Cedar.

Current production is still small and limited. We prefer to keep our guitars small scale to retain “hands on” high quality.

Our exclusive Pono Guitar distributor is Hawaii Music Supply. All Pono Guitar marketing and sales will now be handled by Hawaii Music Supply. Their website has all available models, with beautiful photos and videos.

Website: www.theukulelesite.com

Contact: support@theukulelesite.com

A – For most of the 20 years that we have been making Pono Guitars and Ukuleles we have had a factory on the island of Java in Indonesia.  Throughout history this island has been famous for woodworking. Many of our employees are second and now third generation luthiers. And of course, since our Pono models are a clone to our Ko‘olau instruments, we are personally involved in every phase of design and production, to insure the highest quality available.

A –  There are many different varieties of Rosewood throughout tropical forests. Sadly many of these forests have been mismanaged, and supplies depleted. A recent ban on Rosewood was lifted for musical instruments, so again we have begun construction with Rosewood. The most common Rosewood, and most conscientiously managed is the species Dalbergia Latifolia, otherwise known as “Indian Rosewood” although the same species is growing in neighboring countries and islands. This is the species we use, however sometimes the appearance varies. When grown in India, the dark brown and black colors also have a reddish purple tone. Many hundreds of years ago seedlings were taken to the island of Java in Indonesia. And now Rosewood is common on this island. However the colors are different. Laboratory samples though reveal that it’s the exact same species, Dalbergia Latifolia. The climate is similar, but possibly the more volcanic soil produces light colors of brown, red, and pale yellow. Although these two Rosewoods look different, they are in fact the same genetic species, with the same weight and density, and thus the same tone and volume. .

A – All of our fingerboards and bridges for many years have been Ebony.  Throughout the history of instrument making fingerboards and bridges have primarily been ebony or rosewood. We use Ebony. There are many different sub species of Ebony, most thought to be from Africa. However the highest quality Ebony is from Southeast Asia, called Macassar Ebony. What is sometimes confusing is that our Ebony, Macassar Ebony is not all jet black, but instead, black and brown colors. We think it’s beautiful, but most important is that it’s durable and stable. However all Ebony is becoming endangered, and so if necessary we will search for an alternative fingerboard and bridge material.

And now, for some models we are going to use another excellent and beautiful hardwood called Merbau. It looks and wears similar to most rosewoods.

A - There are several different species of Ebony, the species name is Diospyros. As described above, most of the common ebony woods come from Africa. But there are many other countries and islands that have small amounts of Ebony trees. They are usually not commercially harvested due to limited supply and complicated forestry practices. One Ebony that has become somewhat popular is Macassar Ebony. Botanically it was named Diospyros Celebica, because the Dutch named this island Celebes or Celebica, but more locally called Macassar, since the island is actually named Sulawesi.

It’s an unusual Ebony, not only because of it’s excellent density and tonal qualities, but also because it’s not the traditional black. It has black colors, but mixed with brown, and again, as discussed above, often mistaken for some type of Rosewood.

As for the use of this ebony as a body wood, a problem now is that many instrument builders want to use this particular species of Ebony, and so coming from one little island, it’s becoming rare and endangered.

And so, in answer to the question, we may continue to make a few select models with Ebony back and sides. And, as mentioned above, for now all of our fingerboards and bridges are still Ebony.

A – Genuine Mahogany (Swietenia Mahogani and Swietenia Macrophylla) has been used extensively in construction, both architectural trim and the boating industry. Neither are now commercially available from their original natural habitat, namely Central and South America. And so now Mahogany has become endangered and expensive. The highest quality, Swietenia Mahogani (Cuban or Caribbean Mahogany, and sometimes called small leaf mahogany)  is now available only where cultivated. On Oahu we have this species thanks to botanists in the 1800’s. But it’s rare, very expensive, and used only for our Ko’olau models. This is a heavy and dense variety of Mahogany, weighing 40lb/ft and a Specific Gravity of .64. 

The other species from the Caribbean is Swietenia Macrophylla (sometimes called Honduras Mahogany or big leaf mahogany).  This is the species most people are familiar with, both for body woods, and nearly every guitar neck ever made. The weight and density of this Mahogany is lighter than the small leaf “Honduras” with a weight of 34.lb/ft and a Specific Gravity of .54.

But this species too is no longer available in it’s original environment. Swietenia Macrophylla is now cultivated plantation style in other countries, and used for furniture, ship building, architecture, and musical instruments.
What’s confusing is that there are many other woods that look like Mahogany, and named “Mahogany” but botanically not a Swietenia Mahogany species. Some of them are Khaya, Philippine, and Sapele.

For Pono production we have been using Swietenia macrophylla (big leaf mahogany).  So yes, mahogany has been exploited by unprofessional forestry practices. And now, besides availability, is becoming more expensive than other possible substitutes.

And so, as with other endangered woods, we are on a constant search for other available sustainable woods for our instruments.

A – Because it’s pretty and it sounds good.

There are actually many species of Acacia throughout the world. Hawaiian Koa is an Acacia (Acacia Koa). But the Acacia that we use for Pono ‘ukuleles and guitars is another species of Acacia called Acacia Preta (and possibly a crossover of Acacia Melanoxyilon in Australia, since Australia is only a few miles south of the island of Java).  

The various Acacia’s are plentiful and not endangered, at least not yet. There are over 1300 different species of Acacia throughout the world. In fact there are so many different “acacia” trees that many arborists have a difficult time distinguishing them. But they all have similar characteristics. Most Acacia trees look somewhat alike, and the wood grain is similar and beautiful.

A – As for tonal comparisons to Mahogany, the Acacia family (including Acacia Koa) is different in weight and density. Most Acacia wood, including Acacia Koa has a density of about 40lb/ft and a  Specific Gravity of .55.  Mahogany is lighter (35 to 40lb/ft) but approximately the same Specific Gravity (which is weight compared to the same amount of water). Mahogany produces a warm tone, and a unique tonal clarity.   And it’s interesting that as Mahogany ages, it changes in color. From a light reddish brown, to a dark deep color. And the tone also changes. For those who own vintage mahogany guitars and ‘ukuleles, the aged tone is unsurpassable.

Acacia is heavier and more dense than Mahogany, and thus has it’s own unique tonal projection. And of course a beauty all it’s own. And each board uniquely different. Most people are familiar with the sound of Acacia woods, having owned or played instruments made of Hawaiian Koa. All Acacia woods are similar.  The Acacia that we use for our Pono instruments is similar in appearance to what was known to old timers in Hawaii as “black Koa.”

For lack of a better description, Acacia wood produces what could be called a deep and dark woody tone. Top soundboard woods such as spruce and cedar can be combined for a wider tonal range. 

Acacia Preta does lack the rich red color tones of Acacia Koa, but still has beautiful black and brown figured grain patterns. We have been reluctant to use Acacia woods in the past due to the confusion of this species. Our Hawaii ecosystem is fragile, and it cannot afford to supply the entire earth with its resources, so we make it very clear that our Acacia Pono ‘ukuleles are not made of Koa from Hawaii.

Several years ago we had a short run of Pono ‘ukuleles made from Hawaiian Acacia Koa. We cut body woods on Oahu, and sent them to Java. So we did make about 100 Pono ‘ukuleles using Hawaiian Koa. Their model designation has a K on the label (PKC, PKT, and PKB). After this production series we decided it was not economically practical, nor was it environmental ethical to use our precious resources in an already fragile small island in the middle of the Pacific ocean.

A – As mentioned above, Mahogany in it’s natural state is light in color. Most people have come to associate mahogany with a dark brown red color, because throughout the history of guitar and ‘ukulele making Mahogany was stained dark.

We do not stain or dye our mahogany.  What you are see on Ko’olau and Pono instruments is the natural color of mahogany. For many years, most makers have stained Mahogany dark because the general perception is that the darker the better.  We prefer it natural.
True mahogany in its natural state has a beautiful silky grain, and pretty light red brown colors.  

Another reason mahogany has been stained in guitar and ukulele production is because the Mahogany used, especially for ukuleles, has often been remnant and/or poor quality pieces left over from guitar production. So manufacturers use a dark stain to hide blemishes. The wood still produces a good tone, but usually has cosmetic blemishes that would be unacceptable if not stained. And stained Mahogany looks opaque and muddy. From our beginnings we decided to take the gamble, and leave our woods unadulterated.

We sometimes get calls and emails wondering if our mahogany is real.
And the answer is yes, it’s true Mahogany. What you see is mahogany in its natural state. When Mahogany is not stained, and left natural, it has beautiful distinct and feather like grain lines, and a natural light to medium brown red color. What’s sad is that this beauty is masked when Mahogany is stained.

An interesting phenomena is that mahogany will naturally darken when exposed to light. So in only a few months you will notice your mahogany instrument darken in color ……. naturally.  But its pretty grain is still clearly seen.

A – First of all, it’s important to note that one wood is not “better” than another. Simply different. Some are more expensive, but usually not due to tone, but availability.

– Mahogany top, back, and sides: warm and mellow tone. Very even note equalization. The most traditional combination of woods for an ‘ukulele have been either all Koa or all Mahogany. Combines well with spruce or cedar.

– Mahogany back and sides with Spruce or Cedar top: with the addition of Spruce or Cedar to the top of a guitar or ukulele the overall tonal range is increased. In other words, because Spruce and Cedar are technically “soft” woods, this means they have more tensile flexibility, and thus they can vibrate more freely. This creates a clearer and pronounced treble and bass notation. Again, not better, just different.

– Mango sounds good and looks good. It’s usually plentiful (as long as it’s not mango season, when everyone in the neighborhood frowns on cutting down a mango trees).  Mango wood grain is sometime unpredictable, and so we only select some, and reject most.  The appearance is wildly beautiful, sometimes looking like crazy artist painting. So we try to select pretty and somewhat uniform grain patterns.  As for tone, Mango is similar to Mahogany in weight, density, and volume and projection. But because of its unusual beauty, we usually include Mango for the top, back, and sides.
 
– Acacia Koa top, back, and sides (available on Ko’olau models only): somewhat similar to Mahogany, but due to it’s density and weight (41lb/ft and .55sg, compared to Mahogany at 34lb/ft and .54sg), Koa produces a brighter, more projecting tone.

– Acacia Preta – similar to Acacia Koa, similar density, lighter weight. Warm tone.

– Acacia (Koa or Preta) with a cedar or spruce top. As mentioned above, cedar and spruce are soft woods and flex and vibrate more freely than hardwoods. Thus more projection and a wider tonal range.

– Ebony We use a rare species of ebony. The most common ebony used throughout the centuries has been from Africa, usually called Madagascar Ebony. And traditionally has been all black (though much of it is stained black because the accepted perception of ebony wood should be black).

But the species we use is a higher and more expensive grade of ebony called Macassar, because it comes from an island in the Indonesian archipelago that was once named Macassar. We use this species of ebony for both our Ko’olau and Pono models. But due to the expense and difficulty in acquiring this wood, production is very limited, and now limited to fingerboards, bridges, and binding.

On the scale of weight and density, Macassar Ebony is among the heaviest and most dense. However when machined properly the weight is not overbearing. Wood properties are likened to the various species of Rosewood, but with a different cell structure. And thus a different tone. Deep like Rosewood, but with more clarity.

A – Both are considered “soft” woods, from evergreen trees.  Both have a tensile flexibility that’s different from “hard” woods, such as Mahogany, Koa, Rosewood, Maple, and Ebony.  Due to their flexible or “bendable” nature they are excellent as top soundboard woods.  Simply stated, when strings are played …. the top vibrates, causing a “pumping” action, and thus projecting tone out the soundhole.  

Although Spruce and Cedar both great top woods, due to their density and specific gravity (weight) the tone is different.  Spruce is slightly harder than cedar, and it’s cell structure is different, and so tone and volume is bright, clear, and projecting.  Cedar is softer and thus produces a  warmer tone, somewhat like an aged spruce.  Most of our Spruce is Englemann Spruce from British Columbia Canada.  We also use Sitka Spruce from Canada and Alaska. Sitka Spruce is more dense and thus produces a stronger projection. Our Cedar is Western Red Cedar, from Vancouver Island Canada. 

A – Initially we made a case for every guitar and ‘ukulele. Then we found that most players gladly accepted a hardshell case, but then brought a gig bag. Most musicians and travelers prefer a good quality gig bag due to weight and easy portability. And a good bag is just as protective. So we eventually decided to make a case only for instruments with unusual dimensions, since music stores only sold popular size ukulele cases.

Until recently we continued to make cases, but now realize that providing a high quality gig bag is probably a better option. So in the future our TE Thin body models, UL and BN models, and guitars will include a gig bag.

A – Mahogany, Mango, Acacia Series and TE Thinbody Electric models are available in both gloss and satin finish.  All ‘Oihana, Pro Classic Series, Master Series, UL4 and BN4, and guitars have a gloss finish.

A – Yes, Ko‘olau makes Pono, but not in Wahiawa. We actually spend much of the year working in our Java Indonesia factory. We personally manage and oversee all of our Pono manufacturing.  All designs and styles are patterned after our Ko‘olau instruments, and manufacturing techniques are supervised on a daily basis by our staff in Hawaii.

Ko‘olau models have become our “custom” line of instruments. They are only available on special order, and normally take several months to complete. As demand increased in the ukulele market for high quality, we considered many different options of producing an expensive Ko‘olau guitar and ukulele. After several attempts we decided to duplicate our instruments on a larger “factory” scale. Not large scale and out of hand, but to increase quality to supply the demand. And thus we came up with Pono.

Of course with any manufactured product that is “mass” produced, there will be more problems. As much as we enforce strict quality control measures our Pono models will still have more issues than Ko‘olau.

But for an all solid wood instrument, very closely duplicating Ko‘olau, using the same molds, tooling, and dimensions, most of our customers feel they have a well constructed, professional, and asthetically beautiful instrument ….. at a very affordable price.

Our Pono factory is in South Asia, just north of Australia, on the island of Java. In the past, stringed instruments made in Asian countries were thought of as cheap and of poor quality. But times have changed. Actually, much of the problem was due to European and American contractors (large production guitar manufacturers) who commissioned Asian manufacturers to make cheap guitars, ukuleles, and violins. So they accomodated their needs.

But things have changed. You can still buy inexpensive products from China, Korea, Mexico, Indonesia, and Vietnam (actually about everything we own). But those countries are also capable of manufacturing some of the finest quality stringed instruments in the world. Most high end instruments remain in their own country, bought and played by their own middle and upper class musicians. They have a long history of fine art and craftsmanship.  And though difficult to admit,  sometimes they surpass the quality of our own domestic products. Not always … but what used to be the slogan “if it’s made in America, it’s the best” is not always true these days. Yes, some fine quality workmanship is still available in the US, but various factors such as costs of operation and pride in craftsmanship (or a lack of it) have caused a shift of manufacturing to other countries.

Though we may not realize it, or want to admit, most products we buy now are made in other countries.  And sadly it’s not always because of the cost.  As mentioned above, with proper quality control, Asian countries are manufacturing excellent products.  Each day we readily use our computers, iPads, cell phones, and an array of other electronic products, almost always made in Asia. Does anyone ever complain because their iPhone or other device was made in another country? No, we are just happy to have them.  

And how about automobiles? Most of the autos we drive are made in Asia or Mexico, namely Ford, Buick, Volvo, VW, Nissan, and Toyota.  And again, do we complain or question where they are made? No…  As long as they are good quality.  The same is true of musical instruments.  

But aside from where our Pono instruments are made, we are personally involved in each phase of production, spending considerable time overseeing operations. In fact we daily monitor manufacturing, and then conduct a thorough inspection of every Pono instrument, first at our Indonesia factory, and then again perform a similar inspection and set-up at our Hawaii factory. More and more an accepted saying is “it’s not where something is made, but who made it”.

So, with that being said, yes,
Ko‘olau makes Pono.

A – On occasion we hear a customer question how a flaw or defect could have passed through so many levels of quality control.

If it’s of any consolation, we are not pleased when this happens. But in the production of anything, sometimes there are mistakes. We try hard to prevent them, but anything that is hand made is not perfect. Defects sometimes slip by.

To prevent this as much as possible, when this becomes known, we do a thorough investigation to correct the problem. In addition to fixing the problem, we also want our customers to know that we stand by what we make. Whenever there are defects due to faulty craftsmanship we will repair or replace the instrument. We never give dumb excuses, side stepping our responsibility. Our record of high quality customer service speaks for itself.

That being said, we also want our customers to be “reasonable.”
Being reasonable includes taking a step back realizing that making a stringed instrument involves cutting a tree, shaping it into something called a guitar or ukulele, and then adding a few metal and bone parts. Wood is composed of cells, it breathes, and will go through changes in it’s lifetime. And yet, in most cases, will still playable for many hundreds of years. It will outlive us, and outlive our $40,000 to $60,000 automobiles. But still, we want to prevent problems.

Back to the question …… “sharp fret ends,”…. be assured that Pono guitars and ukuleles NEVER leave our factory (or follow-up inspection stations) with sharp fret ends. Never !
That may be disputed, but it’s true. In fact, all final end fret work must pass what we call the “baby butt” inspection. Frets are meticulously filed, sanded, and buffed until they are as smooth as a babies little behind, or as we say in Hawaii “okole.”

That’s not to say we don’t believe you when you say your fret ends are sharp. If they are sharp, we believe you. But again, they were not sharp when they left our factory. The reason they became sharp is that your instrument is now in a new climate. That’s not to say that you did anything wrong in the care of your instrument. It simply means the your guitar or ukulele is in a new environment, and now it may lack the moisture necessary to stabilize wood. And this can cause woods to change within just a few days. In fact, we have done extensive tests to prove that the cell structure of wood can change in a few hours.

Here is what happens, and causes problems. Your fretboard is made of wood, but your frets are metal, and wood and metal expand and contract differently. As wood (fingerboard) drys, it shrinks or contracts. But the metal (frets) do not. Metal does not shrink. So again, wood shrinks, metal frets do not. As the wood shrinks, fret ends begin to protrude or stick out of the edges of the fingerboard. So these sharp protruding ends need to be trimmed off.

To solve this problem, you can swell the wood back to it’s original width, or again, you can trim the ends of the frets (filed and sanded) off. This is irritating, and appears unprofessional, but again, it’s natural, and, it did not leave our factory in that condition.

But again, it’s natural, and easily repairable. The “repair” may be necessary a few time, but eventually your instrument will “acclimate” to your particular environment.  

In summary, metal frets do not change in size. But wood expands and contracts. In this case, wood shrinks when it gets dry. We build all Ko’olau and Pono guitars and ukuleles in a controlled atmosphere of 40% to 50% humidity (as close to 43% as possible). Luthiers have to find a balanced environment to build, knowing their instruments will be going to either dry or moist environments.

Regardless of the weather outside, our factories are controlled, always at the same 40% to 50% humidity level. If your instrument remains in Hawaii, or goes anywhere on the earth where humidity levels are higher than 50% then the fingerboard wood will expand (and fret ends will not be exposed, or sharp). However when humidity levels are below 40% the fingerboard will shrink. Taking in moisture and expanding is ok, but too much shrinkage is not.

If there is too much humidity the frets can possibly become dislodged from the slot, thus needing to be reset. And due to the fingerboard becoming wider (expanding), there will be a slight gap between the end of the fret and the edge of the fingerboard. This looks bad and may need a little adjustment, but none of this is a major problem …. your instrument simply needs some adjustments, and again, will eventually settle in to its new home.

So, remember, the fret does not shrink. Wood shrinks, and then the fret end protrudes off the edge and feels sharp. All of this is easily repairable. 

Most of our customers say “but I take good care of my instrument, I even have dehumidifiers in my case.” And that’s good, but when your humidity is naturally 20% to 40% or less (such as in most of the western US states), or becomes low due to heating and air conditioning (which is the rest of the country), then regardless of how many humidifiers you have your case or instrument woods will shrink. As mentioned above, the good news is that eventually your instrument will acclimate to your environment. In the meantime it will expand and contract. Whether your guitar or ukulele is $200 or $4000, fret ends will protrude and be sharp if the fingerboard has shrunk.

Here is a fun experiment to illustrate and readily show the above explanation. Turn on your bathroom shower (hot water). Leave it on for as long as you feel comfortable wasting hot water. The bathroom should be all steamed up. Set your guitar or ukulele in the bathroom and close the door (not in the shower, but somewhere in the bathroom). Turn off the hot water, but continue to leave the instrument in the bathroom for an hour or so to fully absorb any left over moisture. In most cases you will immediately feel your frets less sharp because your fingerboard has now expanded.

Obviously this is not the solution to maintaining your instrument every day. But this will allow you to see what happens when your fingerboard has now expanded due to humidity.

After your instrument is again back in its natural environment, and after a few days the fret ends are sharp again you will need to have your frets “dressed” as they say. A qualified luthier repairperson will not only level and crown the top of the frets, but more importantly trim the edges to match the new width of your fingerboard. This may be necessary a few times over the next couple of years, but eventually the fingerboard will settle in and stop what is termed transpiration, or the release of moisture and resins.

A – This may sound like a dumb explanation, but the bridge is supposed to come off. Not just randomly come off, but if the weather is too hot or too cold, or if the instrument is dropped or stepped on, or whatever causes trauma to it….. something has to give. Your instrument strings are creating many pounds of tension, pulling on the top. And if temperature, moisture, or trama is exerted to the glued bridge, then something has to give. And it’s better that the bridge comes loose, rather than the entire body falls apart. It’s somewhat like a pressure valve. Rather than a boiler tank with liquids, and the lines blow up, the pressure valve opens, and releases pressure and tension.

Which is why, if you noticed, the bridge is glued on, not screwed on. There is a reason for this. Manufacturers could screw them down, but believe it or not, they want the bridge to come off when the instrument has experienced a traumatic impact or drastic temperature change.  Thus in most cases, when a bridge comes loose, it’s due to damage or extreme climate temperature and humidity changes. Sometimes it’s because it was not glued down correctly in the first place. In this case, it usually will come loose shortly after being manufactured. And when this happens (soon after being made), the maker should fix it.

You may not realize it, but your instrument is under a lot of stress, actually many pounds of tension (35 lbs to 55 lbs depending on size of ukulele, and a guitar up to 100 lbs) when all strings are tuned up. Because of that tension, when your guitar or ‘ukulele is subjected to some sort of damage (being dropped, thrown, banged against the wall, left in hot or cold weather, left in a hot car or trunk, and a multitude of other adverse circumstances) … agin, something has to give. If your bridge is screwed down, then something else has to give, either the neck will crack or come loose, or the whole top will warp, crack, or pull up. Including damage to the internal bracing. And so, believe it not, it’s better to have the bridge come off.

Remember the “pressure” valve analogy. Rather than the whole thing blowing up, only the bridge comes off, releasing the tension. As long as you are not in it’s path when it comes off, everything will be ok ….. and it can easily be repaired.

When this happens, be assured it happens to guitars and ‘ukuleles worth many thousands of dollars. It’s ok, it can be fixed. But it should be repaired by a qualified luthier repair person. It needs to be lined up right, and done so as to be cosmetically unnoticeable. In other words, it’s a relatively simple repair, but still must be done right or the instrument can be ruined.

A – Spruce, Cedar, and Redwood.  Mahogany, Acacia, and Mango are technically a “hardwood” but still soft enough to be used as top soundboards. But they can all be combined with a soft wood soundboard such as spruce, cedar, or sequoia redwood.

Our Cedar (Western Red Cedar) is from Vancouver Island, British Columbia Canada.  And our Spruce is Englemann Spruce from the interior of British Columbia Canada (the Revelstoke area), and Sitka Spruce from Canada and Alaska for select models.  All Cedar and Spruce used for Pono Guitars and Ukuleles is 3A to 4A mastergrade wood.  

A – Currently the only Pono instruments with a pre installed pickup is our TE Thinbody Electric models. Pickups installed in All Pono ‘ukuleles are our “Pono” brand undersaddle transducer passive pickup. We have them custom made for us. A “passive” pickup is designed for direct conductance of tone and vibration, and thus has no internal pre-amp or battery. This is similar to the original under saddle transducers from the past. They are a simple design, with four piezo pads, spaced out to be under each string. Our decision to use this style of pickup was not only to keep costs down, but our passive system is actually the finest quality “stand alone“ pickup we have tested (stand alone meaning without a preamp). 

In certain settings requiring high levels of amplification, an external outboard preamp can be used to convert the system, changing it from Passive to Active.
There are a variety of outboard Pre-Amps available at music stores. 

As for all other models, we are not installing pickups. Most dealers install pickups.

A – Yes, warranty is extended to the original retail purchaser for one year from the date of purchase. Warranty covers defects in materials and/or workmanship.

If you are not completely satisfied or your instrument has issues, please contact the Authorized Dealer where it was purchased. Our dealer will discuss the problem with us, and may be able to resolve the problem without the need to return your instrument.

A “limited” warranty is designed to cover manufacturer defects. If there are any defects due to faulty craftsmanship on our part, this will become obvious well before the first year. However we extend the warranty to one year. Warranty does not include shipping costs, neglect (including improper climate control and humidity regulation), abuse, strings, finishes, fret wear, or machine head tuners. Proof of original purchase will be necessary for any claims. All return shipping costs to one of our Authorized dealers will be the responsibility of owner.

A – We have a network of domestic and foreign dealers throughout North America, Australia, Canada, UK, France, Germany, Japan, Korea, Thailand, and Singapore. Please see our website under “Authorized Dealers” for each listing. They offer all Pono ‘Ukulele models.
We are currently revising our network of dealers to include only a select few in each geographic area of the world.  If you are unable to locate a dealer, please contact us and we assist in any way possible.

Currently all Pono guitars are available only from Hawaii Music Supply.
www.theukulelesite.com