A Short History of the Ko’olau Guitar & ‘Ukulele Company

Ko’olau Guitar & ‘Ukulele Company was started as a small family business in 1979, as Kitakis Stringed Instruments.  Although having expanded beyond a “small” family, it still retains a close knit and cooperative atmosphere. Current workload includes repairs and high end custom manufacturing. In the early years, although a few custom guitars and mandolins were made, the primary focus was on repair and vintage restoration of guitars, mandolins, ‘ukuleles, banjos, the entire violin family, and nearly every other imaginable instrument with strings.  Though most luthiers (the term given to one employed in the field of lutherie, or stringed instrument building and repair) prefer actually building an instrument, there has always been a demand for professional repair.  So, the original goal was to be more service oriented, fixing what had already been made, and making playable what would otherwise be useless. 

Services for over 20 years included factory warranty repairs for all major brands including C.F. Martin, Gibson, Taylor, Guild, Fender, Ovation, Yamaha, and others.  But eventually, although repair work was plentiful, the company focus shifted to manufacturing. 

In the mid 1990’s the world of music saw a rejuvenation of the ‘ukulele.  Throughout history the ‘ukulele has seen its ups and downs, but it seems that it’s apparently here to stay.  But rather than merely competing with the current market, which included for the most part cheaply made and unprofessional ‘ukuleles, Ko’olau decided to “raise the bars” as they say.  However, one problem was that 15 to 20 years ago, an ‘ukulele that cost over $500 was almost unheard of and if available, perceived as unaffordable.  But the first Ko’olau ‘ukuleles sold for $500 to $2000.  What is of interest is that they sold, and customers were truly appreciative that the ‘ukulele was beginning to be accepted as a professional instrument.  So we saw a new era of the modern ‘ukulele.  And now we have endorsement performers in the music genres of jazz, classical, country, blues, rock, and of course, traditional Hawaiian.

Getting back to company history, and who does what in the business, the children in the family eventually grew up.  All of them when young were somehow involved in the business, from sorting screws to sweeping the floors, but the oldest son, Noa Bonk (John’s step son), after a short adventure of successful and creative cooking apprenticeships, dedicated himself to what he surely thought would be a satisfying career of peace and quiet in the field of lutherie (stringed instrument building and repair).  One aspect that attracted Noa to such a career was the thought of being alone, a thing he perceived as of great value, in a shop with the perfumed aroma of freshly cut woods, artistically designing and building what eventually would be showcased in great performances.  Sort of the lone “Geppetto” …   working miracles with wood. 

But much to his disappointment, Noa’s quiet little workshop of peace and tranquility didn’t last long.  Ko’olau grew, and to keep up with the demand more workers were necessary.  And so today he is entrusted with the oversight of all Ko’olau production, even dividing his time for Pono consultation, research and development.  On a positive note, they say that whatever one learns in life should be shared and taught to others, so Noa is “carrying the torch” and now teaching others the traditions of the family business.  He now has children of his own, who may someday pay their dues by sorting screws and sweeping floors, continuing the family tradition. 

And Noa’s devotion in the business has raised the level of production even further.  In addition to manufacturing custom guitars and ‘ukuleles with prices well over $10,000, he has managed to compete in a world of economic woes without compromising quality.  This has been possible by introducing more affordable Ko’olau models with less frills and adornment …   a tough balance to acomplish.  Many manufacturers often attempt such a feat, but usually do so at the expense of quality.  But to accomplish this it has become necessary to expand to more than the immediate family. 

Currently working in Ko’olau production is Jeb Wiemer (the up and coming devoted, conscientious, and highly skilled apprentice), Ama Mahi (the man with the precision eyes of an eagle who misses nothing), and Danny Navarro (our meticulous set up and quality control inspector who truly hates to make mistakes). 

That brings us to the final end of stringed instrument manufacturing, which is why it’s called  “finishing.”  
The Ko’olau finishing department is supervised by our eccentric “mixer of elixers” … Kilin Reece  (most customers call and ask for Killin’ … but it’s really pronounced “Kai-lin” and not “Kill-lin”) ….

Anyway, Kai-lin completes all of our Ko’olau instruments with a beautiful and protective final coating.  Besides applying our stock lacquer finish on all production instruments, he is also an avid enthusiast of formulating and applying traditional spirit and oil varnishes of the type found on violin family instruments dating to the 15^th century. Kai-lin is also our in-house musician, torn between making them or playing them, but he says he enjoys both. 

Another son is Andrew.  After working on Ko’olau instruments for many years Andrew has taken leave to own and manage a retail music store, located in the same town of Wahiawa.  The retail music business is the other half of manufacturing, and so his retail marketing skills are now an advantage for the goals and designs of current and future Ko’olau and Pono production.  He claims that it’s just an educational leave of absence, and will return some day.

And finally there is Susan Kitakis, the accounts manager.  It’s been said (and in this case, it’s true) that without mom, no one would be here. Susan wanted (and was blessed with) creative and talented children.  However, she will readily admit that doing bookkeeping is far from her goals when she was young (but they say that not much in life ever goes according to plan).  Her artistic background and schooling was supposed to lead her to a career in the fabric or ceramic industry, but obviously her husband decided that the world needed more guitars and ‘ukuleles than clothes and pottery.  But not all was lost, as she has been a valuable asset both to the “no-fun” side of business, namely accounting and bookkeeping, and also to the aesthetic designs and development of Ko’olau instruments.