2017 catalog
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
GUITARS & MANDOLINS<br />
<strong>2017</strong>
“Thank you for taking the time to learn about our company and our latest instruments<br />
we’ve been working so hard to develop. It has been an honor and privilege to design<br />
and build all the guitars and mandolins in this <strong>catalog</strong> with such a passionate team of<br />
luthiers and musicians. We are incredibly proud of our instruments and are grateful for<br />
your support. Thank you!”<br />
- Qian Ni, Founder & CEO
AN EXPANDING WORLD OF SOUND<br />
<strong>2017</strong> CATALOG
2<br />
A dedication to excellence,<br />
a commitment to craft.<br />
Founded in 1992 by a young immigrant, Qian Ni, Eastman Strings was from the start<br />
recognized as one of the world’s finest makers of orchestral stringed instruments. In the<br />
great tradition of such luthiers as Antonio Stradivari, Lloyd Loar (Gibson), and John<br />
D’Angelico, we built from a foundation in violin-making to produce some of the best<br />
fretted instruments anywhere.<br />
In 2004, we continued to evolve by creating our first guitars: three archtops that were<br />
displayed at the winter NAMM show in California. The response at this music-industry<br />
gathering was immediate and overwhelming. Players from around the world remarked<br />
at the archtops’ craftsmanship and acoustic properties. Only a few years later, with the help<br />
of a team of passionate luthiers, we introduced our acclaimed mandolins and flattop guitars.<br />
What makes this work so special? The craftsmanship. Eastman guitars and mandolins<br />
are always hand-made by skilled luthiers, many of whom have been with us from the<br />
beginning. Their commitment to personally creating each instrument separates us from<br />
many modern builders; aware that each piece of wood is unique and must be treated as<br />
such, our luthiers ensure that the graduations and bracings are tailored for every instrument.<br />
The result, we believe, is a superior tone that all players can hear — and more.<br />
Legendary jazz guitarist John Pisano often comments on not only our guitars’ acoustic<br />
properties, but on the way he can literally feel the instrument vibrate against his body,<br />
“as if it’s alive.”<br />
And our guitars continue to evolve, inspired and enhanced by our proven excellence with<br />
other stringed instruments. The models in our new Varnish Antique Series, for example,<br />
come with an extraordinary finish originally developed for our carefully considered and<br />
vaunted violins. Meanwhile, our mandolins and classical guitars feature the sort of delicate<br />
stringing that’s honed by years of broad lutherie experience. This kind of cross-pollination<br />
within our company, in which work on one kind of instrument positively influences<br />
another, keeps our tradition of unparalleled craftsmanship expanding — and thriving.<br />
We’re incredibly lucky to have so many talented artists appreciate our work, and we hope you<br />
visit one of our dealers around the world to see, to hear, and to feel an Eastman for yourself.
3
4<br />
THE<br />
ANTIQUE<br />
VARNISH<br />
SERIES<br />
Vintage Gets a New Varnish<br />
The Heart of the Eastman Workshop Honored<br />
The phrase “new antique” might sound like a contradiction — but<br />
not when it applies to Eastman’s Varnish Antique Series. This line<br />
of guitars is built on a mix of time-honored craft and ahead-of-thecurve<br />
thinking utilizing classic technique with a decidedly fresh<br />
approach. And yes, it all starts with the finish.<br />
Eastman violins have always been distinguished by their consistently<br />
rich hue varnish that is matched by an equally rich tone. This<br />
unique, even Stradavarius-like quality is the result of a proprietary<br />
process rooted in a tradition going back to the 16th century during<br />
the Golden Age of violin making. And now Eastman is bringing that<br />
time-tested, violin-oriented process to the world of guitars.<br />
No doubt a few existing guitars can lay claim to truly special finishing<br />
work. But such models tend to be collectibles, reserved exclusively<br />
for upmarket buyers who treasure the handmade attention<br />
to detail. The Varnish Antique Series is designed to make such a<br />
rare and labor-intensive feature more available to guitar enthusiasts,<br />
with the proof in the distinctive look and sound.<br />
And just what is it exactly that produces that look and sound?<br />
Therein lies the signature magic. Li Hua Rong, who manages<br />
Eastman’s refined varnish shop is willing to provide a few answers,<br />
but she’ll only reveal so much. The process itself, she relays,<br />
features six distinct steps starting with a basecoat application to<br />
fill the grain, then moving to color application, and concluding with<br />
a French polish. Ultimately, three or four coats of material are<br />
applied and sanded thin. The result is softer than lacquer, creating<br />
a smoother tone.<br />
When Pepijn ‘t Hart of Eastman Europe visited the workshop in<br />
Beijing with a guitar and asked if it were possible to replicate Hua’s<br />
special process on a larger instrument, she had him do some playing<br />
to get a sense of how guitars aged, and soon set to work. From<br />
there a new line formed.<br />
We added Seymour Duncan Seth Lovers or Antiquity P90’s, TV<br />
Jones brushed nickel classics, and aged Gotoh hardware to make it<br />
possible to own a brand-new, vintage feeling, “antique” instrument<br />
fresh out of our workshop.
5<br />
THINLINE ARCHTOP ARCHTOP<br />
T59/v<br />
T58/v-AMB<br />
T49/v<br />
Top:<br />
Maple Laminate<br />
Top:<br />
Carved Spruce<br />
Top:<br />
Laminated Maple<br />
Back/Sides:<br />
Maple Laminate<br />
Back/Sides:<br />
Laminated Flamed Maple<br />
Back/Sides:<br />
Laminated Maple<br />
Neck:<br />
Maple<br />
Neck:<br />
3 piece maple<br />
Neck:<br />
3 piece maple<br />
Fingerboard:<br />
Ebony<br />
Fingerboard:<br />
Ebony<br />
Fingerboard:<br />
Rosewood<br />
Nut:<br />
Bone<br />
Nut:<br />
Bone<br />
Nut:<br />
Bone<br />
Bridge/Saddle:<br />
Tune-o-matic<br />
Bridge/Saddle:<br />
Ebony, 2-3/32” Spacing<br />
Bridge/Saddle:<br />
Rosewood compensated,<br />
Binding:<br />
Ivoriod<br />
Binding:<br />
Wood , 5-ply top, 3-ply back<br />
2-3/32” Spacing<br />
Scale Length:<br />
24.75”<br />
Scale Length:<br />
25”<br />
Binding:<br />
Ivoroid 5-ply top, 3-ply back,<br />
Neck Pickup:<br />
Seymour Duncan Seth Lover<br />
Neck Pickup:<br />
TV Jones Filtertrons<br />
Single ply neck<br />
Bridge Pickup:<br />
Seymour Duncan Seth Lover<br />
Bridge Pickup:<br />
TV Jones Filtertrons<br />
Scale Length:<br />
24.75”<br />
Finish:<br />
Antique Varnish<br />
Finish:<br />
Antique Varnish<br />
Neck Pickup:<br />
Seymour Duncan Seth Lover<br />
Case:<br />
Hardshell Case<br />
Case:<br />
Hardshell Case<br />
Bridge Pickup:<br />
N/A<br />
Available Finishes:<br />
Antique Classic, Antique Amber<br />
Available Finishes:<br />
Antique Classic, Antique Amber<br />
Finish:<br />
Antique Varnish<br />
Case:<br />
Hardshell Case<br />
Available Finishes:<br />
Antique Classic, Antique Amber<br />
CL<br />
v<br />
AMB<br />
v<br />
VN CL<br />
v<br />
AMB VN<br />
v<br />
CL<br />
v<br />
AMB<br />
v
6<br />
THE ANTIQUE VARNISH SERIES<br />
EASTMANGUITARS.COM<br />
TRADITIONAL<br />
E10SS/v<br />
TRADITIONAL<br />
E10OOSS/v<br />
Top:<br />
Adirondack<br />
Top:<br />
Adirondack<br />
Back/Sides:<br />
Mahogany<br />
Back/Sides:<br />
Mahogany<br />
Neck:<br />
Mahogany<br />
Neck:<br />
Mahogany<br />
Fingerboard:<br />
Rosewood<br />
Fingerboard:<br />
Rosewood<br />
Nut:<br />
Bone<br />
Nut:<br />
Bone<br />
Bridge/Saddle:<br />
Rosewood/ Bone<br />
Bridge/Saddle:<br />
Rosewood/ Bone<br />
Binding:<br />
Ivory<br />
Binding:<br />
Ivory<br />
Scale Length:<br />
24.75”<br />
Scale Length<br />
24.75”<br />
Finish:<br />
Antique Varnish<br />
Finish:<br />
Antique Varnish<br />
Case:<br />
Hardshell Case<br />
Case:<br />
Hardshell Case<br />
Available Finishes:<br />
Classic<br />
Available Finishes:<br />
Classic<br />
SS<br />
OO<br />
SS
7<br />
MANDOLIN MANDOLIN MANDOLIN<br />
MD815/v<br />
MD805/v<br />
MD814/v-BK<br />
Top:<br />
Solid Adirondack<br />
Top:<br />
Solid Adirondack<br />
Top:<br />
Solid Adirondack<br />
Back/Sides:<br />
Carved Flamed Maple<br />
Back/Sides:<br />
Carved Flamed Maple<br />
Back/Sides:<br />
Carved Flamed Maple<br />
Neck:<br />
Maple<br />
Neck:<br />
Maple<br />
Neck:<br />
Maple<br />
Fingerboard:<br />
Ebony<br />
Fingerboard:<br />
Ebony<br />
Fingerboard:<br />
Ebony<br />
Nut:<br />
Bone<br />
Nut:<br />
Bone<br />
Nut:<br />
Bone<br />
Bridge/Saddle:<br />
Fitted Adjustable Ebony<br />
Bridge/Saddle:<br />
Fitted Adjustable Ebony<br />
Bridge/Saddle:<br />
Fitted Adjustable Ebony<br />
Binding:<br />
Ivoroid<br />
Binding:<br />
Ivoroid<br />
Binding:<br />
Ivoroid<br />
Scale Length:<br />
13 7/8”<br />
Scale Length:<br />
13 7/8”<br />
Scale Length:<br />
13 7/8”<br />
Finish:<br />
Antique Varnish<br />
Finish:<br />
Antique Varnish<br />
Finish:<br />
Antique Varnish<br />
Case:<br />
Hardshell Case<br />
Case:<br />
Hardshell Case<br />
Case:<br />
Hardshell Case<br />
Available Finishes:<br />
Classic<br />
Available Finishes:<br />
Classic<br />
Available Finishes:<br />
Black<br />
AF FF AF AF FO
8<br />
T184MX-BD<br />
THE<br />
THINLINE<br />
SERIES<br />
Top:<br />
Back/Sides:<br />
Neck:<br />
Fingerboard:<br />
Nut:<br />
Bridge/Saddle:<br />
Binding:<br />
Scale Length:<br />
Neck Pickup:<br />
Bridge Pickup:<br />
Finish:<br />
Case:<br />
Available Finishes:<br />
CL SB<br />
Hand Carved Maple<br />
Solid Carved Mahogany<br />
Mahogany<br />
Ebony<br />
Bone<br />
Gotoh/Tunomatic<br />
Flame Maple Multiply<br />
25”<br />
Seymour Duncan 59<br />
Seymour Duncan 59<br />
Nitrocellulose Lacquer<br />
Hardshell Case<br />
Classic, Sunburst, Blonde<br />
BD<br />
When we decided to offer thinline electrics,<br />
we knew we wanted to capture the soul of the great<br />
blues and rock players who came before. Eastman<br />
thinline guitars are handcrafted and lacquered —<br />
the way they ought to be. They have a warm, rich<br />
tone and feature premium pickups from the world’s<br />
finest manufacturers, meticulously selected for<br />
maximum character. The instruments in our Thinline<br />
Series — whether featuring solid construction for<br />
the warmer, fuller tones or laminate construction for<br />
those times on stage when things need to get louder<br />
— possess unique characteristics made possible<br />
by the differences in body style, tone woods,<br />
construction, and size.<br />
T186MX<br />
Top:<br />
Back/Sides:<br />
Neck:<br />
Fingerboard:<br />
Nut:<br />
Bridge/Saddle:<br />
Binding:<br />
Scale Length:<br />
Neck Pickup:<br />
Bridge Pickup:<br />
Finish:<br />
Case:<br />
Available Finishes:<br />
Hand Carved Maple<br />
Solid Carved Mahogany<br />
Mahogany<br />
Ebony<br />
Bone<br />
Gotoh/Tunomatic<br />
Flame Maple Multiply<br />
25”<br />
Seymour Duncan<br />
Serth Lovers<br />
Seymour Duncan<br />
Serth Lovers<br />
Nitrocellulose Lacquer<br />
Hardshell Case<br />
Classic, Sunburst, Blonde<br />
CL<br />
SB<br />
BD
9<br />
T386<br />
T486-RB<br />
Top:<br />
Maple Laminate<br />
Top:<br />
Deluxe Laminate Maple<br />
Back/Sides:<br />
Maple Laminate<br />
Back/Sides:<br />
Deluxe Laminate Maple<br />
Neck:<br />
3 Piece Maple<br />
Neck:<br />
Maple<br />
Fingerboard:<br />
Rosewood<br />
Fingerboard:<br />
Ebony<br />
Nut:<br />
Bone<br />
Nut:<br />
Bone<br />
Bridge/Saddle:<br />
Tunomatic Style<br />
Bridge/Saddle:<br />
Gotoh Tunomatic<br />
Binding:<br />
Ivoriod<br />
Binding:<br />
Ivoroid<br />
Scale Length:<br />
24.75”<br />
Scale Length:<br />
24.75”<br />
Neck Pickup:<br />
Kent Armstrong HPAN-1N<br />
Neck Pickup:<br />
Lollar Low-wind Imperial<br />
Bridge Pickup:<br />
Kent Armstrong HPAN-1B<br />
Bridge Pickup:<br />
Lollar El Rayo Bridge<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Finish:<br />
Satin Matte<br />
Case:<br />
Hardshell Case<br />
Case:<br />
Hardshell Case<br />
Available Finishes:<br />
Classic, Red, Sunburst<br />
Available Finishes:<br />
Trans Red<br />
CL SB RD<br />
RD<br />
FEATURED MUSICIAN<br />
Talking with<br />
Jon Herington<br />
HOW DID YOU HOOK UP WITH THE<br />
GUYS IN STEELY DAN?<br />
My friend Ted Baker, a fantastic piano player, had<br />
been doing lots of tracking sessions with Donald and<br />
Walter for the Two Against Nature recording. They<br />
had been working on that record for a couple of<br />
years, and in late 1999 they asked Ted to recommend<br />
a guitar player. He had a copy of my first solo<br />
record, a collection of instrumental music in a style<br />
influenced by Weather Report, among others,<br />
and he played a bit of the first track for Donald and<br />
Walter. From what I gather, somebody made some<br />
wisecrack about the derivative nature of the music,<br />
but shortly after that I got a call from Walter asking<br />
me to come in and do some overdubs. I ended up<br />
doing several days of work on that record, and at<br />
one of the sessions they said they were planning a<br />
big touring year to accompany the release of the<br />
new record, and they asked me if I’d be interested in<br />
playing guitar.<br />
DONALD FAGEN AND WALTER BECKER<br />
ARE KNOWN FOR BEING VERY PARTICU-<br />
LAR IN THE STUDIO. WHAT WAS YOUR<br />
FIRST STUDIO SESSION WITH STEELY<br />
DAN LIKE?<br />
It went smoothly, I thought. We worked for about<br />
four hours on one rhythm guitar part, and did many<br />
takes without too many comments about what I<br />
should do differently the next time. But they’re used<br />
to taking their time and enjoying the luxury of a<br />
relaxed pace in the studio. They didn’t seem overly<br />
particular or fussy to me, and I was happy to<br />
continue trying to play more takes to see if we got
10<br />
THE THINLINES SERIES<br />
EASTMANGUITARS.COM<br />
something they liked better. We finished that day,<br />
and they were happy enough to ask me if I happened<br />
to be free next week to come back and do some<br />
more. I said sure, of course. The week went by and<br />
I didn’t hear anything. Another couple of weeks went<br />
by — nothing. I pretty much gave up on it and wrote<br />
it off. Then about five weeks after the original<br />
session, I got another call from Walter. He asked<br />
me if I remembered the session I had played and of<br />
course I said yes. Then he told me that they were not<br />
going to use anything I played that day. He paused<br />
and I said, OK. Then he said he wanted me to come<br />
back in and play on several other tunes. So I went<br />
back several times and ended up on four tracks of<br />
the Two Against Nature record.<br />
YOU HAVE CERTAIN MODIFICATIONS<br />
MADE TO SOME OF YOUR GUITARS.<br />
WHAT ARE THEY?<br />
I typically have several things done, even to brandnew<br />
guitars. I prefer a single master volume control,<br />
so if a guitar has more than one volume control<br />
I have it rewired. I often replace the frets with a taller<br />
and wider fret size. And I usually find I have to install<br />
a little network of a capacitor and a resistor to create<br />
a high pass filter on the volume control, too. I don’t<br />
like the way a lot of guitars seem to lose their<br />
high-end response when you roll back the volume<br />
control. This network fixes that. I also often relocate<br />
the pickup selector switch, and make room for the<br />
master volume to be closer to my right hand,<br />
because I tend to use the volume control a lot.<br />
WHAT DREW YOU TO EASTMAN?<br />
The first time I played an Eastman guitar was when<br />
I was subbing for Scott Kuney in the Broadway pit<br />
of Spamalot. He didn’t want to leave his valuable L5<br />
in the pit, and had bought an Eastman archtop to<br />
replace it there. I played it when it was brand-new,<br />
and right away it felt better and sounded better than<br />
the L5 to my ears. But the astonishing thing was that<br />
when I went back a couple of months later and<br />
played that same guitar, the difference in tone was<br />
incredible. In that short amount of time, with all the<br />
music happening in that space with eight shows a<br />
week, it had blossomed in an unbelievable way, and<br />
sounded huge. I was very impressed, obviously,<br />
and never forgot it. Years later, when I happened to<br />
be in touch with Eastman, I jumped at the chance<br />
to check out some of their instruments.<br />
HOW WOULD YOU DESCRIBE THE<br />
SOUND OF YOUR E10OOSS AND MD604?<br />
I love the double O because of its big tone in that<br />
small body size. It’s very alive, like all the Eastman<br />
instruments I’ve heard (good wood and workmanship!),<br />
and I find it very useful for recording applications<br />
because, unlike the mostly larger acoustic<br />
guitars I’ve owned, its low end is extremely focused<br />
and more controlled.<br />
The oval hole mandolin has always been a favorite of<br />
mine — I prefer it to the brighter and more cutting<br />
f-hole styles. And the Eastman mandolin sounds like a<br />
little cannon! It’s really alive and loud, but it has a richer<br />
tone than the f-hole mandolins I’ve played before.<br />
Herington plays the Thinline<br />
T184MX, Mandolin MD604,<br />
and Traditional E10OOSS.
11<br />
T486-SB<br />
T486B<br />
Top:<br />
Maple Laminate<br />
Top:<br />
Maple Laminate<br />
Back/Sides:<br />
Maple Laminate<br />
Back/Sides:<br />
Maple Laminate<br />
Neck:<br />
3 Piece Maple<br />
Neck:<br />
3 Piece Maple<br />
Fingerboard:<br />
Ebony<br />
Fingerboard:<br />
Ebony<br />
Nut:<br />
Bone<br />
Nut:<br />
Bone<br />
Bridge/Saddle:<br />
Tunomatic Style<br />
Bridge/Saddle:<br />
Tunomatic Style w/<br />
Binding:<br />
Ivoriod<br />
Bigsby Tremelo<br />
Scale Length:<br />
24.75”<br />
Binding:<br />
Ivoriod<br />
Neck Pickup:<br />
Seymour Duncan Jazz<br />
Scale Length:<br />
24.75”<br />
Bridge Pickup:<br />
Seymour Duncan 59<br />
Neck Pickup:<br />
Seymour Duncan<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Phat-Cat Neck<br />
Case:<br />
Hardshell Case<br />
Bridge Pickup:<br />
Seymour Duncan<br />
Available Finishes:<br />
Classic, Red,<br />
Phat-Cat Bridge<br />
Sunburst, Black<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Case:<br />
Hardshell Case<br />
Available Finishes:<br />
Classic, Red,<br />
Sunburst, Black<br />
CL RD SB BK<br />
CL RD SB BK<br />
David Vandervelde<br />
of the band<br />
Father John Misty, Tess And Dave<br />
Vandervelde plays the Thinlines T486-B<br />
and the Traditional E20OO
12<br />
THE<br />
SOLID BODY<br />
SERIES<br />
When Pepijn ‘t Hart and Pim Schilperoort collaborated on the design<br />
of our first solid body guitar, they set out to create something new,<br />
with Eastman’s signature written all over it. Antiqued and varnished in<br />
our orchestral strings shop, the SB59/v has the look, feel, and tone, of<br />
a 58-year-old guitar.<br />
We are also offering a gloss version of the SB59 finished in nitro<br />
cellulose. Both solid body models feature a hand-carved solid flamed<br />
maple top, on a solid mahogany body. The Gotoh hardware and<br />
Seymour Duncan Antiquity humbuckers on the SB59/v and Seymour<br />
Duncan ’59 humbuckers on the SB59 complete one of our hardest<br />
rocking instruments to date.<br />
SB59/v<br />
Top:<br />
Back/Sides:<br />
Neck:<br />
Fingerboard:<br />
Nut:<br />
Bridge/Saddle:<br />
Binding:<br />
Scale Length:<br />
Neck Pickup:<br />
Highly Figured Book Matched Maple<br />
Solid One Piece Mahogany<br />
One Piece Mahogany<br />
Rosewood<br />
Bone<br />
Gotoh Aged Relic<br />
Ivoroid<br />
24.75”<br />
Seymour Duncan Antiquity Humbuckers<br />
(SD ‘59 on Lacquer)<br />
Bridge Pickup:<br />
Seymour Duncan Antiquity Humbuckers<br />
(SD ‘59 on Lacquer)<br />
Finish:<br />
Case:<br />
Available Finishes<br />
Antique Varnish<br />
Hardshell Case<br />
Antique Classic Varnish, Antique Amber Varnish,<br />
Sunburst Lacquer, Gold Burst Lacquer<br />
CL<br />
v<br />
AMB<br />
v<br />
SB<br />
GD
13<br />
FEATURED MUSICIAN<br />
New Directions<br />
with Craig Bartock<br />
How did a guy who never even thought of himself<br />
as a guitarist end up getting invited to join a famous<br />
rock band — as the guitarist? To hear Craig Bartock<br />
tell it, he just did his thing. And he kept it simple.<br />
The story goes back to 2002, when Bartock was<br />
running his own busy music-production house,<br />
producing and developing new pop artists (such as a<br />
pre-Oscar Brie Larson) and collaborating with legacy<br />
acts like Blondie and Meat Loaf. “As far as my<br />
resume goes, playing guitar probably wouldn’t have<br />
even been on it,” Bartock says from his home in<br />
Northern California. “It would’ve been ‘music<br />
producer,’ ‘songwriter,’ ‘arranger,’ blah blah blah.”<br />
Then came Heart’s Nancy and Ann Wilson, looking<br />
not to organize a nostalgia tour but to find a fresh<br />
musical direction.<br />
Bartock and the Wilsons clicked both professionally<br />
and personally, co-writing a series of songs right out<br />
of the gate. When he then moved into his familiar<br />
role as go-to man on the album that emerged<br />
(Jupiter’s Darling), Bartock ended up handling many<br />
of the guitar parts himself, naturally finding his own<br />
way inside the band’s retooled sound — and fabric.<br />
“So one day I’m sitting in the studio,” Bartock<br />
remembers, “and Nancy kind of just sheepishly said<br />
to me, ‘You should really be our guitar player.’ And<br />
I’m sitting there thinking, ‘Did she just ask me to join<br />
the band?’”<br />
She did, and Bartock accepted, principally because<br />
he’d developed such respect for — and personal<br />
rapport with — the Wilsons, who, he says, continue<br />
to honor their desire to avoid merely milking past<br />
glories. “Ann and Nancy as artists just can’t do<br />
that,” he says. “I don’t think any of us would want<br />
to be a part of a band that’s an oldies act. It’s a<br />
fine line between a band that is duplicating their<br />
[past] music and a band that feels themselves to<br />
be vital.”<br />
Strong relationships and intentions aside, adapting<br />
to a job he neither sought nor expected still required<br />
a transition-period, particularly when it came to<br />
playing live. Bartock hadn’t actually taken to the<br />
stage since his young-man-in-a-band days in<br />
hometown San Diego, and was quickly thrown into<br />
the fire. His first show as an official Heart member<br />
was on the CMT’s “Crossroads,” which meant lots of<br />
TV cameras in a sizable Nashville venue. He had all<br />
of three days to rehearse.<br />
He got through it by staying in the moment and not<br />
trying to do too much. And now, more than a decade<br />
later, he abides by his less-is-more approach as the<br />
band plays everywhere from ships to “sheds” and he<br />
looks to ensure that his tools can withstand the rigors<br />
of touring. “The most important thing for a live<br />
set-up,” he says, “is you just want it to be working all<br />
the time. That’s why I’ve always gone for simplicity.<br />
Stick with simple guitars, don’t go through a whole<br />
bunch of effects.”<br />
Indeed, simplicity has served Bartock well. He thinks<br />
back to those early Heart days, when he was grappling<br />
with the fact that the band had transformed<br />
several times over the years, and had different sets of<br />
fans with different sets of expectations. “I realized:<br />
There’s no way as a guitar player I’m going to be able<br />
to cover all these sounds,” he says with a laugh.<br />
“So I better just do it as myself.”
14<br />
THE<br />
CUSTOM<br />
EDITION<br />
You’re invited — into our workshop.<br />
It is a place you’re sure to love exploring. A place where you will find thousands<br />
of options for your creation.<br />
The Custom Edition is a new series that honors creativity and furthers our<br />
ongoing commitment to superior quality, introducing custom-configured,<br />
handcrafted guitars to every level of player. And procuring this is now within<br />
the reach of any serious guitarist or collector, anywhere in the world.<br />
Eastman’s master luthier, designer Otto D’Ambrosio, is bringing his worldclass<br />
skills and traditional build-methods to the workshop to create guitars<br />
that are guaranteed to be nothing short of stunning. The hand-built Custom<br />
models will further reinforce Eastman’s status as the premier, preeminent<br />
provider of high-value hand-built guitars.<br />
And beyond our unparalleled craftsmanship comes your personal signature.<br />
With the Custom Edition, we have broadened the palette of possibilities by<br />
opening the doors to our workshop, where you can engage the creative process<br />
of designing your dream guitar.<br />
Once inside, you might never want to leave. We offer more than 2,000 possible<br />
option combinations, including finishes, neck shapes, pickups and<br />
frets, and hide-glue neck joints. There are no limits — only opportunities.<br />
For additional details, and to learn how to order your Custom Edition, visit:<br />
eastmanguitars.com.
15
16<br />
THE CUSTOM EDITION<br />
EASTMANGUITARS.COM
17
18<br />
THE<br />
FRANK<br />
VIGNOLA<br />
+<br />
R Y A N<br />
THORELL<br />
SIGNATURE<br />
FV680CE-SB<br />
SERIES<br />
By now, jazz guitarist Frank Vignola’s<br />
resume reads like a Hall of Fame plaque.<br />
There are the gigs at major venues<br />
around the world; the collaborations<br />
with everyone from Wynton Marsalis to<br />
Ringo Starr to Madonna; the countless<br />
books and NPR appearances. It should<br />
go without saying, then, that luthiers<br />
have long chased his endorsement<br />
of their instruments — and that the<br />
51-year-old master has felt no great<br />
urgency to give it. “I wasn’t interested<br />
unless I truly believed in the guitar,”<br />
Vignola now recalls of a process that<br />
played out multiple times over the<br />
years.<br />
Top:<br />
Back/Sides:<br />
Neck:<br />
Fingerboard:<br />
Nut:<br />
Bridge/Saddle:<br />
Binding:<br />
Scale Length:<br />
Neck Pickup:<br />
Bridge Pickup:<br />
Finish:<br />
Case:<br />
Available Finishes:<br />
Solid Hand Carved Spruce<br />
Hand Carved Mahogany<br />
Mahogany<br />
Ebony<br />
Bone<br />
Ebony Compensated<br />
2-3/32” Spacing<br />
Ivroid 4 ply top and back<br />
25.4”<br />
Kent Armstrong<br />
N/A<br />
Nitrocellulose Lacquer<br />
Hardshell Case<br />
Sunburst<br />
That’s when Ryan Thorell stepped in.<br />
The revered Utah-based luthier had<br />
a “wild concept” — a hybrid design<br />
that would accommodate the virtuoso’s<br />
distinct mix of gypsy and archtop<br />
playing styles. “I wanted to approach<br />
the gypsy sound from a very Americana<br />
perspective, from a carved-top guitar<br />
perspective,” Thorell explains. “I wanted<br />
the drive of a gypsy guitar to come from
19<br />
an instrument that was fresh but carried an original<br />
Appalachian and old-world feel.”<br />
The undertaking was ambitious and, in Thorell’s<br />
view, “terrifying,” but it turned out to be a “magical<br />
collision of intent and opportunity.” The moment he<br />
received the instrument, Vignola says, “I absolutely<br />
fell in love with it. I immediately called Ryan and<br />
told him I wanted to endorse this guitar.” And after<br />
Vignola had wowed with it on the road for more<br />
than 1000 shows, it was Eastman’s turn to step<br />
in, offering to bring Thorell’s singular creation to a<br />
wider community of players.<br />
Of course, the primary consideration was doing it<br />
right. And just as Thorell had separated himself from<br />
the pack, so too had Eastman — to the point where<br />
neither guitar-player nor guitar-maker had to be<br />
asked twice. “I’ve been such a fan of how Eastman<br />
has conducted itself and the ideals it adheres to,”<br />
Thorell says, referring to Eastman’s hands-on and<br />
nuance-sensitive approach, to its emphasis on quality<br />
materials and the personal touch.<br />
The guitar’s very creation, after all, had personal<br />
roots. Thorell was 15 when he first saw — and was<br />
knocked out by — Vignola’s playing in Salt Lake City,<br />
and the two met about a year later, when Vignola<br />
ran the jazz department at Arizona State University.<br />
(“He used to fly in to take lessons with me,” Vignola<br />
recalls.) Later, Vignola became smitten with a cedar<br />
guitar that Thorell had made for another client. By<br />
the time Thorell was ready to embark on the bold<br />
new venture, “I had had Frank’s sound and his<br />
unique approach as a guiding inspiration for years.”<br />
The resulting chemistry was so “electric and<br />
immediate” that the two didn’t even require much<br />
direct contact. “When it’s great,” Thorell says, “both<br />
the player and the maker are on the same intuitive<br />
page.” In turn, Thorell notes that his relationship<br />
with Eastman has evolved out of a similar foundation<br />
of trust and respect: “I think Eastman is truly unique<br />
in the world of lutherie, in the combination of its<br />
reach and its commitment to what I love about the<br />
art of guitar-making.”<br />
Vignola, meanwhile, is now happy to extend his<br />
endorsement of Thorell beyond the signature guitar.<br />
“I truly believe Ryan is next in line to the masters like<br />
D’Angelico, D’Aquisto, and Benedetto,” he says. “He<br />
is a true genius.”<br />
Moral of the story: When it comes to crafting magic,<br />
it always helps to bring the passion.<br />
Conversation with<br />
Vignola & Thorell<br />
FRANK VIGNOLA ON THE<br />
ROOTS OF JAZZ:<br />
Jazz and blues are the two art forms<br />
that America has, and we should be<br />
proud of this. We should teach this in<br />
schools. We should also make our<br />
kids aware of the great era of music<br />
from the 1920’s and 1930’s. This was<br />
a special time in history for music, and<br />
it’s America’s music.<br />
…AND ON JAZZ TODAY:<br />
Jazz unfortunately has gotten a bad<br />
reputation due to musicians caring<br />
more about their solos than the<br />
audience… It’s unfortunate that the<br />
music called “jazz” has gotten so far<br />
away from the originator, Louis<br />
Armstrong. I believe jazz is so much<br />
about the repertoire. The songs of this<br />
time period are what jazz musicians of<br />
the time were interested in, not a<br />
mode. It was about playing songs and<br />
communicating with other musicians<br />
and especially the audiences. The<br />
audience is who these great musicians<br />
were playing for, not themselves.<br />
THORELL ON THE NITTY-<br />
GRITTY OF THE FRANK<br />
VIGNOLA SIGNATURE SERIES:<br />
It’s a carved-top instrument based on<br />
an entirely different z-axis structure.<br />
The top loading is more akin to a<br />
low-load flattop, which allows for very<br />
light carving. The bracing brings a<br />
simple transverse mode into the tone<br />
of an archtop as well, which yields a<br />
gypsy-style bark, yet pillowed with all<br />
of this warmth and drive of a<br />
traditional archtop build.<br />
…AND ON THE ROLE OF THE<br />
LUTHIER:<br />
A great luthier is a vessel for the<br />
musician, in my opinion. It is a craft<br />
first and an art second. I believe the<br />
best guitars are natural extension of<br />
the players, not lutherie art pieces in<br />
contrast to the musician performing<br />
on them. Secondly, I believe truly<br />
great luthiers have vision to create<br />
something that predicts — an<br />
instrument that speaks for music to<br />
come.
20<br />
AR372CE-SB<br />
Top:<br />
Back/Sides:<br />
Neck:<br />
Fingerboard:<br />
Nut:<br />
Bridge/Saddle:<br />
Laminated Maple<br />
Laminated Maple<br />
3 Piece Maple<br />
Rosewood<br />
Bone<br />
Rosewood Compensated<br />
2-3/32” Spacing<br />
THE<br />
ARCHTOP<br />
SERIES<br />
Binding:<br />
Scale Length:<br />
Neck Pickup:<br />
Bridge Pickup:<br />
Finish:<br />
Case:<br />
Available Finishes:<br />
Ivoriod 5-Ply<br />
24.75”<br />
Kent Armstrong HPAN-1N<br />
Kent Armstrong HPAN-1B<br />
Nitrocellulose Lacquer<br />
Hardshell Case<br />
Classic, Sunburst, Blonde<br />
CL SB BD<br />
With thousands of Eastman orchestral stringed<br />
instruments already being enjoyed by musicians<br />
around the globe, it was an easy decision to take our<br />
skills in hand-carving tops and backs to the world<br />
of archtop guitars. The result: some of the most<br />
coveted and beloved archtop guitars anywhere.<br />
By sourcing premium tone woods and putting them<br />
in the hands of luthiers dedicated to producing<br />
guitars via the time-honored process of handcrafting<br />
fine instruments, Eastman has in fact<br />
become nothing less than the major force in archtop<br />
guitars. We are proud to offer the broadest range<br />
of traditional and contemporary premium archtops<br />
available today.<br />
AR405E<br />
Top:<br />
Back/Sides:<br />
Neck:<br />
Fingerboard:<br />
Nut:<br />
Bridge/Saddle:<br />
Binding:<br />
Scale Length:<br />
Neck Pickup:<br />
Bridge Pickup:<br />
Finish:<br />
Case:<br />
Available Finishes:<br />
Laminated Maple<br />
Laminated Maple<br />
3 Piece Maple<br />
Rosewood<br />
Bone<br />
Rosewood Compensated<br />
2-3/32” Spacing<br />
Ivoriod 5-Ply<br />
25”<br />
Kent Armstrong P-90<br />
N/A<br />
Nitrocellulose Lacquer<br />
Hardshell Case<br />
Classic, Sunburst<br />
CL<br />
SB
21<br />
AR580CE-BLU<br />
Top:<br />
Back/Sides:<br />
Neck:<br />
Fingerboard:<br />
Nut:<br />
Bridge/Saddle:<br />
Solid Hand Carved Spruce<br />
Laminated Flame Maple<br />
3 Piece Maple<br />
Ebony<br />
Bone<br />
Ebony Compensated<br />
2-3/32” Spacing<br />
Binding:<br />
Scale Length:<br />
Neck Pickup:<br />
Bridge Pickup:<br />
Finish:<br />
Case:<br />
Available Finishes:<br />
Wood<br />
25”<br />
Kent Armstrong HPAG-1N<br />
N/A<br />
Nitrocellulose Lacquer<br />
Hardshell Case<br />
Blue, Honeyburst<br />
BLU<br />
AMB<br />
AR603CE-15<br />
Top:<br />
Back/Sides:<br />
Neck:<br />
Fingerboard:<br />
Nut:<br />
Bridge/Saddle:<br />
Binding:<br />
Scale Length:<br />
Neck Pickup:<br />
Bridge Pickup:<br />
Finish:<br />
Case:<br />
Available Finishes:<br />
Solid Hand Carved Spruce<br />
Solid Carved Mahogany<br />
Mahogany<br />
Ebony<br />
Bone<br />
Rosewood Compensated<br />
2-3/32” Spacing<br />
3-Ply Ivoroid<br />
25”<br />
Kent Armstrong HPAG-1N<br />
N/A<br />
Nitrocellulose Lacquer<br />
Hardshell Case<br />
Classic, Classic Sunburst<br />
Nicole Atkins<br />
Atkins plays the Archtop AR405E<br />
CL<br />
CS
22<br />
THE ARCHTOP SERIES<br />
EASTMANGUITARS.COM<br />
AR805CE-SB<br />
AR910CE-BD<br />
Top:<br />
Solid Hand Carved Spruce<br />
Top:<br />
Solid Hand Carved Spruce<br />
Back/Sides:<br />
Hand Carved Maple<br />
Back/Sides:<br />
Hand Carved Maple<br />
Neck:<br />
Maple<br />
Neck:<br />
Maple<br />
Fingerboard:<br />
Ebony<br />
Fingerboard:<br />
Ebony<br />
Nut:<br />
Bone<br />
Nut:<br />
Bone<br />
Bridge/Saddle:<br />
Ebony Compensated<br />
Bridge/Saddle:<br />
Ebony Compensated<br />
2-3/32” Spacing<br />
2-3/32” Spacing<br />
Binding:<br />
7-Ply Ivoroid<br />
Binding:<br />
Figured Maple<br />
Scale Length:<br />
25”<br />
Scale Length:<br />
25”<br />
Neck Pickup:<br />
Kent Armstrong HPAG-1N<br />
Neck Pickup:<br />
Kent Armstrong HPAG-1N<br />
Bridge Pickup:<br />
N/A<br />
Bridge Pickup:<br />
N/A<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Case:<br />
Hardshell Case<br />
Case:<br />
Hardshell Case<br />
Available Finishes:<br />
Classic, Sunburst<br />
Available Finishes:<br />
Classic, Sunburst, Blonde<br />
CL<br />
SB<br />
CL SB BD<br />
Noah Guthrie<br />
Guthrie plays the Thinline T184MX<br />
and the Archtop AR503CE-SB
23<br />
“I don’t know how they do it?<br />
Could be the smoothest fretting<br />
ever and the tone is deep and<br />
timeless. What a beauty!”<br />
Robbie Robertson<br />
Robertson plays the Archtop AR810CE
24<br />
THE ARCHTOP SERIES<br />
EASTMANGUITARS.COM<br />
Mitchell Long<br />
guitarist for<br />
Melody Gardot<br />
Long plays the Archtop AR380CE-HB<br />
Cass McCombs<br />
McCombs plays the Archtop AR372CE-SB
25<br />
JOHN PISANO SIGNATURE SERIES<br />
When one of the world’s greatest, most highly sought after stage and studio guitarists personally designs<br />
an instrument, it’s a big deal. And it was just that when jazz guitarist John Pisano developed the Signature<br />
Series from top to bottom, with all the performance and features he wanted in a guitar. As a contemporary<br />
of jazz guitar icons, John has become an authority on tone. Whether in the studio or on the stage,<br />
these guitars represent everything we have come to associate with true jazz guitar sound.<br />
AR380CE-HB<br />
AR680CE<br />
AR880CE-SB<br />
Top:<br />
Flame Maple Laminate<br />
Top:<br />
Solid Hand Carved Spruce<br />
Top:<br />
Solid Hand Carved Spruce<br />
Back/Sides:<br />
Flame Maple Laminate<br />
Back/Sides:<br />
Hand Carved Mahogany<br />
Back/Sides:<br />
Hand Carved Flame Maple<br />
Neck:<br />
Mahogany<br />
Neck:<br />
Mahogany<br />
Neck:<br />
Maple<br />
Fingerboard:<br />
Rosewood<br />
Fingerboard:<br />
Ebony<br />
Fingerboard:<br />
Ebony<br />
Nut:<br />
Graphite<br />
Nut:<br />
Bone<br />
Nut:<br />
Bone<br />
Bridge/Saddle:<br />
Ebony<br />
Bridge/Saddle:<br />
Rosewood compensated,<br />
Bridge/Saddle:<br />
Rosewood compensated,<br />
Binding:<br />
5-Ply Figured Maple<br />
2 3/32” Spacing<br />
2 3/32” Spacing<br />
Scale Length:<br />
24.75”<br />
Binding:<br />
Multi-Ply Rosewood<br />
Binding:<br />
Multi-Ply Wood<br />
Neck Pickup:<br />
Kent Armstrong<br />
Scale Length:<br />
25”<br />
Scale Length:<br />
25”<br />
Pisano 1 Signature<br />
Neck Pickup:<br />
Kent Armstrong<br />
Neck Pickup:<br />
Kent Armstrong<br />
Bridge Pickup:<br />
Kent Armstron<br />
Pisano Signature<br />
Pisano Signature<br />
Pisano 1 Signature<br />
Bridge Pickup:<br />
N/A<br />
Bridge Pickup:<br />
N/A<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Case:<br />
Hardshell Case<br />
Case:<br />
Hardshell Case<br />
Case:<br />
Hardshell Case<br />
Available Finishes:<br />
Honeyburst<br />
Available Finishes:<br />
Classic<br />
Available Finishes:<br />
Classic, Sunburst, Blonde<br />
HB CL CL SB BD
26<br />
E40D<br />
Top:<br />
Back/Sides:<br />
Neck:<br />
Fingerboard:<br />
Nut:<br />
Bridge/Saddle:<br />
Binding:<br />
Adirondack<br />
Rosewood<br />
Mahogany<br />
Ebony<br />
Bone<br />
Ebony/ Bone<br />
Abalone Top/<br />
Herringbone Back<br />
THE<br />
TRADITIONAL<br />
SERIES<br />
Scale Length:<br />
Finish:<br />
Case:<br />
Available Finishes:<br />
DR<br />
25.4”<br />
Nitrocellulose Lacquer<br />
Hardshell Case<br />
Natural / Sunburst<br />
At Eastman we are very proud of our “old-world”<br />
handcrafted acoustic guitars. The Traditional Series<br />
is inspired by the great instruments of the Golden<br />
Age of guitar-building, when the work was done<br />
entirely by gifted craftspeople using simple hand<br />
tools. Choose your body-style and tone wood and<br />
get ready to enjoy your heirloom-quality guitar.<br />
This is an instrument that will stay in your family for<br />
generations.<br />
E40OM<br />
Top:<br />
Back/Sides:<br />
Neck:<br />
Fingerboard:<br />
Nut:<br />
Bridge/Saddle:<br />
Binding:<br />
Scale Length:<br />
Finish:<br />
Case:<br />
Available Finishes:<br />
Adirondack<br />
Rosewood<br />
Mahogany<br />
Ebony<br />
Bone<br />
Ebony/ Bone<br />
Abalone Top/<br />
Herringbone Back<br />
24.9”<br />
Nitrocellulose Lacquer<br />
Hardshell Case<br />
Natural / Sunburst<br />
OM
27<br />
E20D<br />
E20SS<br />
Top:<br />
Adirondack<br />
Top:<br />
Adirondack<br />
Back/Sides:<br />
Rosewood<br />
Back/Sides:<br />
Rosewood<br />
Neck:<br />
Mahogany<br />
Neck:<br />
Mahogany<br />
Fingerboard:<br />
Ebony<br />
Fingerboard:<br />
Ebony<br />
Nut:<br />
Bone<br />
Nut:<br />
Bone<br />
Bridge/Saddle:<br />
Ebony/ Bone<br />
Bridge/Saddle:<br />
Rosewood/ Bone<br />
Binding:<br />
Herringbone<br />
Binding:<br />
Herringbone<br />
Scale Length:<br />
25.4”<br />
Scale Length:<br />
24.75”<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Case:<br />
Hardshell Case<br />
Case:<br />
Hardshell Case<br />
Available Finishes:<br />
Natural / Sunburst<br />
Available Finishes:<br />
Sunburst<br />
DR<br />
SS<br />
E20OM-SB<br />
E20P<br />
Top:<br />
Adirondack<br />
Top:<br />
Adirondack<br />
Back/Sides:<br />
Rosewood<br />
Back/Sides:<br />
Rosewood<br />
Neck:<br />
Mahogany<br />
Neck:<br />
Mahogany<br />
Fingerboard:<br />
Ebony<br />
Fingerboard:<br />
Ebony<br />
Nut:<br />
Bone<br />
Nut:<br />
Bone<br />
Bridge/Saddle:<br />
Ebony/ Bone<br />
Bridge/Saddle:<br />
Ebony/ Bone<br />
Binding:<br />
Herringbone<br />
Binding:<br />
Herringbone<br />
Scale Length:<br />
24.9”<br />
Scale Length:<br />
24.9”<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Case:<br />
Hardshell Case<br />
Case:<br />
Hardshell Case<br />
Available Finishes:<br />
Natural / Sunburst<br />
Available Finishes:<br />
Natural / Sunburst<br />
OM<br />
P
28<br />
THE TRADITIONAL SERIES<br />
EASTMANGUITARS.COM<br />
Jackson Phillips<br />
of the band<br />
Day Wave<br />
Phillips plays the Traditional E10P<br />
E10D<br />
E10OM<br />
Top:<br />
Adirondack<br />
Top:<br />
Adirondack<br />
Back/Sides:<br />
Mahogany<br />
Back/Sides:<br />
Mahogany<br />
Neck:<br />
Mahogany<br />
Neck:<br />
Mahogany<br />
Fingerboard:<br />
Ebony<br />
Fingerboard:<br />
Ebony<br />
Nut:<br />
Bone<br />
Nut:<br />
Bone<br />
Bridge/Saddle:<br />
Ebony/ Bone<br />
Bridge/Saddle:<br />
Ebony/ Bone<br />
Binding:<br />
Black<br />
Binding:<br />
Black<br />
Scale Length:<br />
25.4”<br />
Scale Length:<br />
24.9”<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Case:<br />
Hardshell Case<br />
Case:<br />
Hardshell Case<br />
Available Finishes:<br />
Natural / Sunburst<br />
Available Finishes:<br />
Natural / Sunburst<br />
DR<br />
OM
29<br />
Trey Hensley<br />
Hensley plays the E10D-SB, T-386, and T-486B<br />
E10SS<br />
E10OOSS<br />
Top:<br />
Adirondack<br />
Top:<br />
Adirondack<br />
Back/Sides:<br />
Mahogany<br />
Back/Sides:<br />
Mahogany<br />
Neck:<br />
Mahogany<br />
Neck:<br />
Mahogany<br />
Fingerboard:<br />
Rosewood<br />
Fingerboard:<br />
Rosewood<br />
Nut:<br />
Bone<br />
Nut:<br />
Bone<br />
Bridge/Saddle:<br />
Rosewood/ Bone<br />
Bridge/Saddle:<br />
Rosewood/ Bone<br />
Binding:<br />
Ivory<br />
Binding:<br />
Ivory<br />
Scale Length:<br />
24.75”<br />
Scale Length:<br />
24.75”<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Case:<br />
Hardshell Case<br />
Case:<br />
Hardshell Case<br />
Available Finishes:<br />
Sunburst<br />
Available Finishes:<br />
Sunburst<br />
SS<br />
OO<br />
SS
30<br />
THE TRADITIONAL SERIES<br />
EASTMANGUITARS.COM<br />
FEATURED MUSICIAN<br />
Gaz<br />
Coombes<br />
WHO WERE SOME OF YOUR EARLIEST<br />
MUSICAL INFLUENCES?<br />
Mainly Bowie, Beatles, Zappa....& The Muppets Band<br />
HAS YOUR APPROACH TO SONGWRITING<br />
CHANGED FROM THE BEGINNING OF<br />
YOUR CAREER WITH SUPERGRASS TO<br />
NOW?<br />
Very much so in terms of technique & approach.<br />
I love the freedom of starting an idea from any<br />
random point - a loop, a beat, even a few words.<br />
That’s very different to writing as a band. But I guess<br />
a melody can still come out of nowhere & that’s the<br />
same as it ever was.<br />
WHO ARE SOME OF YOUR FAVORITE<br />
GUITAR PLAYERS?<br />
I’ve always loved Neil Young. His approach to<br />
electric & acoustic is very different. Very wild on<br />
electric, but delicate & technical on acoustic. But, it’s<br />
his emotive feel & one note solos that always got<br />
me.<br />
MATADOR FEELS LIKE THE SPIRITUAL<br />
SUCCESSOR TO ROAD TO ROUEN. WAS<br />
THAT RECORD ON YOUR MIND WHEN<br />
YOU WERE WRITING MATADOR?<br />
I guess it was our most DIY record, so perhaps that’s<br />
one similarity.<br />
DO YOU USE ANY ALTERNATE<br />
TUNINGS?<br />
Yes, drop D tuning is a bit of a constant....but also<br />
the DADFAD tuning for “The Girl Who Fell To Earth”<br />
was a cool find.<br />
WHAT DREW YOU TO EASTMAN<br />
GUITARS?<br />
A friend of mine told me about them & I’m just<br />
always into trying new guitars....not always letting<br />
the ‘big boys’ dominate. And, I’m glad I did.<br />
HOW WOULD YOU DESCRIBE THE<br />
SOUND OF YOUR EASTMAN GUITAR?<br />
I’ve got a full sized dreadnought & a smaller parlor<br />
guitar too, both fitted with pickups. They’ve both got<br />
a great tone & feel. The parlor guitar is my favorite<br />
though. I use it live now quite a bit.<br />
WHAT’S NEXT FOR YOU, MUSICALLY?<br />
I’m writing & recording for my 3rd album. Early days,<br />
but already some really exciting ideas floating about.<br />
WHAT’S YOUR FAVORITE SONG YOU’VE<br />
WRITTEN?<br />
Tough one...it’s usually the most recent though...<br />
WHERE’S THE BEST PLACE TO FIND<br />
UPDATES ON WHAT YOU’RE CURRENTLY<br />
UP TO?<br />
Probably best to check out Twitter & FB, all the live<br />
shows are up there, amongst other lovely stuff.<br />
Coombes plays the<br />
Travel ACTG1
31<br />
E10OO-M<br />
E6 OM<br />
E8D<br />
Top:<br />
Mahogany<br />
Top:<br />
Solid Sitka Spruce<br />
Top:<br />
Solid Sitka Spruce<br />
Back/Sides:<br />
Mahogany<br />
Back/Sides:<br />
Mahogany<br />
Back/Sides:<br />
Rosewood<br />
Neck:<br />
Mahogany<br />
Neck:<br />
Mahogany<br />
Neck:<br />
Mahogany<br />
Fingerboard:<br />
Rosewood<br />
Fingerboard:<br />
Ebony<br />
Fingerboard:<br />
Ebony<br />
Nut:<br />
Bone<br />
Nut:<br />
Bone<br />
Nut:<br />
Bone<br />
Bridge/Saddle:<br />
Rosewood/ Bone<br />
Bridge/Saddle:<br />
Ebony/ Bone<br />
Bridge/Saddle:<br />
Ebony/ Bone<br />
Binding:<br />
Ivory<br />
Binding:<br />
3-Ply Black/ White/ Black<br />
Binding:<br />
Herringbone<br />
Scale Length:<br />
24.9”<br />
Scale Length:<br />
24.9”<br />
Scale Length:<br />
25.4”<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Case:<br />
Hardshell Case<br />
Case:<br />
Hardshell Case<br />
Case:<br />
Hardshell Case<br />
Available Finishes:<br />
Natural<br />
Available Finishes:<br />
Natural<br />
Available Finishes:<br />
Natural<br />
OO<br />
DR OM DR<br />
12<br />
DR<br />
OM
32<br />
AC630—BD<br />
THE<br />
AC<br />
SERIES<br />
Top:<br />
Back/Sides:<br />
Neck:<br />
FIngerboard:<br />
Nut:<br />
Bridge/Saddle:<br />
Binding:<br />
Scale Length:<br />
Electronics:<br />
Finish:<br />
Case:<br />
J<br />
CE<br />
Solid Engleman Spruce<br />
Solid Flame Maple<br />
Maple<br />
Ebony<br />
Bone<br />
Ebony/ Bone<br />
Multi-Ply Figured Maple<br />
25.4”<br />
N/A<br />
Nitrocellulose Lacquer<br />
Hardshell Case<br />
With the same care and craftsmanship that go<br />
into our Traditional Series guitars, Eastman’s AC<br />
Series offers a variety of honest acoustic voices<br />
and effortless playability with a more modern<br />
flair. Cutaway electrics with upper-fret access<br />
expand the acoustic player’s range and nontraditional<br />
body styles such as Grand Concerts,<br />
and Grand Auditoriums demand an audience’s<br />
attention. The AC Series guitars are designed and<br />
built with performance in mind — and perform is<br />
exactly what they do.<br />
AC630CE-12<br />
Top:<br />
Solid Engleman Spruce<br />
Back/Sides: Solid Flame Maple<br />
Neck:<br />
FIngerboard:<br />
Nut:<br />
Bridge/Saddle:<br />
Binding:<br />
Scale Length:<br />
Electronics:<br />
Finish:<br />
Case:<br />
Mahogany<br />
Ebony<br />
Bone<br />
Ebony/ Bone<br />
Multi-Ply Figured Maple<br />
25.4”<br />
L.R. Baggs Element<br />
Nitrocellulose Lacquer<br />
Hardshell Case<br />
J<br />
12<br />
J<br />
CE<br />
GA<br />
CE
33<br />
Sapele Series Sapele Series Sapele Series<br />
AC-DR1<br />
AC-OM2<br />
AC-GA2CE<br />
Top:<br />
Solid Sitka Spruce<br />
Top:<br />
Solid Sapele (also available<br />
Top:<br />
Solid Sapele (also available<br />
(also available in sapele<br />
in spruce on the AC-OM1)<br />
in spruce on the AC-OM1)<br />
on the AC-DR2)<br />
Back/Sides:<br />
Solid Sapele<br />
Back/Sides:<br />
Solid Sapele<br />
Back/Sides:<br />
Solid Sapele<br />
Neck:<br />
Mahogany<br />
Neck:<br />
Mahogany<br />
Neck:<br />
Mahogany<br />
FIngerboard:<br />
Rosewood<br />
FIngerboard:<br />
Rosewood<br />
FIngerboard:<br />
Rosewood<br />
Nut:<br />
Bone<br />
Nut:<br />
Bone<br />
Nut:<br />
Bone<br />
Bridge/Saddle:<br />
Rosewood/ Bone<br />
Bridge/Saddle:<br />
Rosewood/ Bone<br />
Bridge/Saddle:<br />
Rosewood/ Bone<br />
Binding:<br />
Tortoise Shell<br />
Binding:<br />
Tortoise Shell<br />
Binding:<br />
Tortoise Shell<br />
Scale Length:<br />
24.9”<br />
Scale Length:<br />
25.4”<br />
Scale Length:<br />
25.4”<br />
Electronics:<br />
N/A<br />
Electronics:<br />
Fishman Sonitone<br />
Electronics:<br />
N/A<br />
Finish:<br />
Open Pore<br />
Finish:<br />
Open Pore<br />
Finish:<br />
Open Pore<br />
Case:<br />
Padded Gig Bag<br />
Case:<br />
Padded Gig Bag<br />
Case:<br />
Padded Gig Bag<br />
DR<br />
OM<br />
GA<br />
CE
34<br />
THE AC SERIES<br />
EASTMANGUITARS.COM<br />
AC222CE<br />
Top:<br />
Back/Sides:<br />
Neck:<br />
FIngerboard:<br />
Nut:<br />
Bridge/Saddle:<br />
Binding:<br />
Scale Length:<br />
Electronics:<br />
Solid Sitka Spruce<br />
Rosewood Laminate<br />
Mahogany<br />
Rosewood<br />
Bone<br />
Rosewood/ Bone<br />
3-Ply Black/White/Black<br />
25.4”<br />
Fishman Sonitone<br />
(on CE models only)<br />
Finish:<br />
Case:<br />
Open Pore<br />
Padded Gig Bag<br />
DR<br />
DR<br />
CE<br />
GA<br />
GA<br />
CE<br />
AC420CE-BA<br />
Neal Casal<br />
of the band<br />
Chris Robinson Brotherhood<br />
Casal plays the T486-B-RD, E20OOSS<br />
Top:<br />
Back/Sides:<br />
Neck:<br />
FIngerboard:<br />
Nut:<br />
Bridge/Saddle:<br />
Binding:<br />
Scale Length:<br />
Electronics:<br />
Finish:<br />
Case:<br />
Solid Sitka Spruce<br />
Solid Rosewood<br />
Mahogany<br />
Ebony<br />
Bone<br />
Ebony/ Bone<br />
Ivoroid<br />
25.4”<br />
Fishman Matrix VT<br />
Nitrocellulose Lacquer<br />
Hardshell Case<br />
DR<br />
CE
35<br />
The Common Linnets<br />
Ilse plays the AC630CE-12, E200OSS.<br />
Jake plays the E10SS, E20OM-SB, MD315.<br />
Matthew plays the T486B-SB, E20OOSS.<br />
JB plays the MD514, MDC805,<br />
AR372CE, E20OM-SB, T486.<br />
AC708CE<br />
AC822CE-FF<br />
Top:<br />
Solid Engleman Spruce<br />
Top:<br />
Solid Engleman Spruce<br />
Back/Sides:<br />
Solid Rosewood<br />
Back/Sides:<br />
Solid Rosewood<br />
Neck:<br />
Mahogany<br />
Neck:<br />
Mahogany<br />
FIngerboard:<br />
Ebony<br />
FIngerboard:<br />
Ebony<br />
Nut:<br />
Bone<br />
Nut:<br />
Bone<br />
Bridge/Saddle:<br />
Ebony/ Bone<br />
Bridge/Saddle:<br />
Ebony/ Bone<br />
Binding:<br />
5-Ply Rosewood<br />
Binding:<br />
Multi-Ply Figured Maple<br />
Scale Length:<br />
24.9”<br />
Scale Length:<br />
Bass Side 25.5” &<br />
Electronics:<br />
L.R. Baggs Element<br />
Treble Side 24.75” Fan Fret<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Electronics:<br />
L.R. Baggs Anthem<br />
Case:<br />
Hardshell Case<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Case:<br />
Hardshell Case<br />
GC<br />
CE<br />
GA<br />
CE<br />
GA<br />
CE-FF<br />
GA<br />
CE<br />
OM<br />
CE<br />
GC<br />
CE
36<br />
THE<br />
CLASSICAL<br />
SERIES<br />
Inspired by the work of legendary Spanish<br />
luthier Antonio de Torres Jurado, our classical<br />
guitars are built to meet the demands of<br />
today’s most serious players and students.<br />
Beyond skill-level, there’s also the matter of<br />
style — these instruments will inspire not just<br />
classical players, but Latin, afro-jazz, and folk<br />
musicians, as well.<br />
Eastman classical guitars have been designed<br />
and crafted to provide power and balance,<br />
clarity and projection, and beautiful tone-color<br />
or timbre. Such are the attributes of these<br />
12-fret specials, handcrafted with an eye —<br />
and ear — toward the great Torres, who in<br />
the 19th century changed lutherie forever<br />
by expanding the stringed instruments’<br />
traditional body-size and, thus, its strength.<br />
With their carefully handcrafted soundboards<br />
and nylon strings, the classical models offer<br />
extraordinary range and emotional texture.<br />
Top-to-bottom excellence of this kind yields<br />
tremendous versatility — and, for the player,<br />
supreme possibility.<br />
With Eastman’s commitment to detail and<br />
dedication to tradition, the delicate fan-bracing,<br />
precise 650 millimeter scale-length, and<br />
careful wood-shaping bestow each instrument<br />
with a distinct “voice.” Players will also<br />
get the guarantee that no Eastman guitar<br />
leaves the shop until it is closely inspected<br />
and carefully set-up by a seasoned luthier.<br />
A great-sounding instrument arrives at its<br />
absolute peak.<br />
With everything taken care of, the dedicated<br />
“classical” instrumentalist is free to concentrate<br />
on just one thing: making beautiful music.<br />
CL81S<br />
Top:<br />
Back/Sides:<br />
Neck:<br />
FIngerboard:<br />
Nut:<br />
Bridge/Saddle:<br />
Binding:<br />
Scale Length:<br />
Finish:<br />
Case:<br />
Available Finishes:<br />
AAA Tight grained Cedar<br />
Indian Rosewood<br />
Mahogany<br />
Ebony<br />
Bone<br />
Rosewood/Bone<br />
Rosewood, 4 Ply<br />
Purfling Top<br />
650 mm<br />
Nitrocellulose Lacquer<br />
Brown Vinyl<br />
Traditional
37<br />
CL20C<br />
CL30S<br />
CL40S<br />
Top:<br />
AAA Tight grained Cedar<br />
Top:<br />
AAA Tight grained<br />
Top:<br />
AAA Tight grained Spruce<br />
Back/Sides:<br />
Indian Rosewood<br />
Spruce<br />
Back/Sides:<br />
Indian Rosewood<br />
Neck:<br />
Mahogany<br />
Back/Sides:<br />
Mahogany<br />
Neck:<br />
Mahogany Ebony<br />
FIngerboard:<br />
Rosewood<br />
Neck:<br />
Mahogany Ebony<br />
Center Strip<br />
Nut:<br />
Bone<br />
Center Strip<br />
FIngerboard:<br />
Ebony<br />
Bridge/Saddle:<br />
Rosewood/Bone<br />
FIngerboard:<br />
Ebony<br />
Nut:<br />
Bone<br />
Binding:<br />
Rosewood, 2 Ply<br />
Nut:<br />
Bone<br />
Bridge/Saddle:<br />
Rosewood/Bone<br />
Purfling Top<br />
Bridge/Saddle:<br />
Rosewood/Bone<br />
Binding:<br />
Rosewood, 4 Ply Purlfling<br />
Scale Length:<br />
650 mm<br />
Binding:<br />
Rosewood, 4 Ply Purlfling<br />
Top 2 Ply Back<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Top 2 Ply Back<br />
Scale Length:<br />
650 mm<br />
Case:<br />
Brown Vinyl<br />
Scale Length:<br />
650 mm<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Available Finishes:<br />
Traditional<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Case:<br />
Brown Vinyl<br />
Case:<br />
Brown Vinyl<br />
Available Finishes:<br />
Traditional<br />
Available Finishes:<br />
Traditional
38<br />
MD415-GD<br />
THE<br />
MANDOLIN<br />
FAMILY<br />
Top:<br />
Back/Sides:<br />
Neck:<br />
Fingerboard:<br />
Nut:<br />
Bridge/Saddle:<br />
Binding:<br />
Scale Length:<br />
Finish:<br />
Case:<br />
Available Finishes:<br />
FF<br />
Carved Solid Spruce<br />
Carved Solid Mahogany<br />
Maple<br />
Ebony<br />
Bone<br />
Fitted Adjustable Ebony<br />
Ivoroid<br />
13 7/8”<br />
Nitrocellulose Lacquer<br />
Hardshell Case<br />
Black / Gold<br />
Inspired by the first Golden Age of American lutherie<br />
in the early 20th century, Eastman’s mandolin family<br />
has earned the respect and admiration of a whole<br />
new generation of bluegrass, folk, and Americana<br />
musicians. The sheer attention to detail in our<br />
mandolins, mandolas, and mandocellos truly rivals<br />
instruments that are three or four times more costly.<br />
From percussive “chop” to dynamic articulation and<br />
throaty harmonic support, Eastman has a mandolin<br />
for every occasion.<br />
MD415-BK<br />
Top:<br />
Carved Solid Spruce<br />
Back/Sides: Carved Solid Mahogany<br />
Neck:<br />
FIngerboard:<br />
Nut:<br />
Bridge/Saddle:<br />
Binding:<br />
Scale Length:<br />
Finish:<br />
Case:<br />
Available Finishes:<br />
Maple<br />
Ebony<br />
Bone<br />
Fitted Adjustable Ebony<br />
Ivoroid<br />
13 7/8”<br />
Nitrocellulose Lacquer<br />
Hardshell Case<br />
Black / Gold<br />
FF
Nels Cline<br />
of the band<br />
Wilco<br />
Cline plays the Mandolin MD515, Mandocello MDC804
40<br />
THE MANDOLIN FAMILY<br />
EASTMANGUITARS.COM<br />
MD305<br />
MD404-BK<br />
Top:<br />
Carved Solid Spruce Top<br />
Top:<br />
Carved Solid Spruce<br />
Back/Sides:<br />
Carved Solid Maple<br />
Back/Sides:<br />
Carved Solid Mahogany<br />
Neck:<br />
Maple<br />
Neck:<br />
Maple<br />
Fingerboard:<br />
Ebony<br />
Fingerboard:<br />
Ebony<br />
Nut:<br />
Bone<br />
Nut:<br />
Bone<br />
Bridge/Saddle:<br />
Fitted Adjustable Ebony<br />
Bridge/Saddle:<br />
Fitted Adjustable Ebony<br />
Binding:<br />
Ivoroid<br />
Binding:<br />
Ivoroid<br />
Scale Length:<br />
13 7/8”<br />
Scale Length:<br />
13 7/8”<br />
Finish:<br />
Satin Lacquer<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Case:<br />
Padded Gig Bag<br />
Case:<br />
Hardshell Case<br />
Available Finishes:<br />
Classic<br />
Available Finishes:<br />
Black<br />
AO AF FF<br />
AO<br />
Ethan Johns<br />
Producer and solo artist<br />
Johns plays the E10P and MD-814
41<br />
MD505<br />
MD514-CS<br />
MD615<br />
Top:<br />
Carved Solid Spruce<br />
Top:<br />
Carved Solid Spruce<br />
Top:<br />
Carved Solid Spruce<br />
Back/Sides:<br />
Carved Flamed Maple<br />
Back/Sides:<br />
Carved Flamed Maple<br />
Back/Sides:<br />
Carved Flamed Maple<br />
Neck:<br />
Maple<br />
Neck:<br />
Maple<br />
Neck:<br />
Maple<br />
Fingerboard:<br />
Ebony<br />
Fingerboard:<br />
Ebony<br />
Fingerboard:<br />
Ebony<br />
Nut:<br />
Bone<br />
Nut:<br />
Bone<br />
Nut:<br />
Bone<br />
Bridge/Saddle:<br />
Fitted Adjustable Ebony<br />
Bridge/Saddle:<br />
Fitted Adjustable Ebony<br />
Bridge/Saddle:<br />
Fitted Adjustable Ebony<br />
Binding:<br />
Ivoroid<br />
Binding:<br />
Ivoroid<br />
Binding:<br />
Ivoroid<br />
Scale Length:<br />
13 7/8”<br />
Scale Length:<br />
13 7/8”<br />
Scale Length:<br />
13 7/8”<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Electronics:<br />
K&K Mandoline Twin<br />
Case:<br />
Hardshell Case<br />
Case:<br />
Hardshell Case<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Available Finishes:<br />
Classic / Classic Sunburst<br />
Available Finishes:<br />
Classic / Classic Sunburst<br />
Case:<br />
Hardshell Case<br />
Available Finishes:<br />
Classic / Sunburst<br />
AO<br />
AF<br />
FO<br />
FF<br />
AO<br />
AF<br />
FO<br />
FF
42<br />
THE MANDOLIN FAMILY<br />
EASTMANGUITARS.COM<br />
MD815PGE-HB<br />
Top:<br />
Back/Sides:<br />
Neck:<br />
Fingerboard:<br />
Nut:<br />
Bridge/Saddle:<br />
Binding:<br />
Scale Length:<br />
Electronics:<br />
Finish:<br />
Case:<br />
Available Finishes:<br />
Solid Adirondack<br />
Carved Flamed Maple<br />
Maple<br />
Ebony<br />
Bone<br />
Fitted Adjustable Ebony<br />
Ivoroid<br />
13 7/8”<br />
K&K Mandolin Twin<br />
Nitrocellulose Lacquer<br />
Hardshell Case<br />
Classic<br />
AF<br />
FF<br />
MD905<br />
Frank Solivan<br />
of the band<br />
Frank Solivan & Dirty Kitchen<br />
Solivan plays the MD515<br />
Top:<br />
Back/Sides:<br />
Neck:<br />
Fingerboard:<br />
Nut:<br />
Bridge/Saddle:<br />
Binding:<br />
Scale Length:<br />
Finish:<br />
Case:<br />
Available Finishes:<br />
Solid Adirondack<br />
Carved Flamed Maple<br />
Maple<br />
Ebony<br />
Bone<br />
Fitted Adjustable Ebony<br />
Maple<br />
13 7/8”<br />
Antique Varnish<br />
Hardshell Case<br />
Clasic / Sunburst<br />
AF<br />
FF
43<br />
FEATURED MUSICIAN<br />
Band from left to right:<br />
Savannah Finch, Tim<br />
Finch, Jon Glik, Stefan<br />
Custodi<br />
The Eastman String Band<br />
Getting personal<br />
Tim Finch knows his bluegrass. He knows the sound and the<br />
songbook, the lore and the legends. His appreciation for the music,<br />
in fact, is what keeps pushing him for something a little different<br />
— namely, for something of his own.<br />
Officially, his band is called Tim and Savannah Finch with The<br />
Eastman String Band. Based outside Annapolis, MD, they formed<br />
just under a decade ago, with the goal of forging fresh territory on<br />
an “Alt’grass Americana” frontier. It also meant writing and<br />
performing original songs — which, as he put it, was something of<br />
a “gamble.” After all, live bluegrass audiences frequently expect<br />
— even demand — to hear the standards.<br />
The result of Finch and his band mates’ focused musical<br />
exploration is two all-original albums, with a third in the works,<br />
driven by wife and lead singer Savannah’s “very personal” lyrics,<br />
which grapple with life and death, family and relationships. He’s<br />
proud of their growing <strong>catalog</strong>ue, prouder still that this music<br />
comes from within. “I love the traditional songs,” he says, “but I’m<br />
passionate about exploring original material and new<br />
arrangements.”<br />
Finch is hardly a product of Appalachia. He grew up in the ‘70s in a<br />
suburb outside of Washington, D.C., in a time and place surging<br />
with the energy of a neo-bluegrass movement. Inspired by the likes<br />
of Earl Scruggs and The Nitty Gritty Dirt Band, he picked up the<br />
banjo as a teenager and never stopped playing. His passion led him<br />
first to form a group with his brothers, then on to gigs at major<br />
venues with The Good Deale Bluegrass Band that included Jon Glik<br />
on fiddle, Mike Munford on banjo, and the legendary Mike<br />
Auldridge on resonator guitar.<br />
Along the way, he met his wife Savannah who walked into a music<br />
store he was just opening. The two found instant musical common<br />
ground, playing together at the Friday night jams that Tim held at<br />
his store. Eventually the fuller band emerged with both at the front<br />
where they began performing at various private events, major<br />
venues, and festivals.<br />
And as for his choice of the band’s name? He reaches out beyond<br />
his own creative efforts. Finch works as a sales rep for Eastman —<br />
a job that keeps him on the road, and in contact with other<br />
musicians, constantly. He’d named his first band after his music<br />
shop “Good Deale Bluegrass,” and so when it came time to find a<br />
name for his new configuration, as he puts it: “I figured, I’d stick<br />
with the same formula and name it after where I work.”<br />
Indeed, his own form of tradition is something that the<br />
irrepressible Finch can very much get behind.<br />
www.eastmanstringband.com
44<br />
EASTMANGUITARS.COM<br />
The Chapmans<br />
Jeremy plays the MD815/v, MDA815<br />
John plays the E6D, E10D, AR905CE<br />
MUSIC CULTURE<br />
Bluegrass and<br />
Americana<br />
The heart of America honored<br />
The origin of these uniquely American music genres can be traced to colonial and<br />
nineteenth century settlers from England, Scotland and Ireland. Along the Appalachian<br />
range, these folk traditions continued to evolve and by the 1930’s when Bill Monroe and<br />
his “Blue Grass Boys” hit the scene, a new American art form was created. Bluegrass<br />
continued to mature into various sub-genres such as “new-grass” and “alt-grass” and by<br />
the 1990’s a new radio format known as Americana was born drawing on bluegrass roots<br />
but also adopting influences from folk, blues, jazz and rock.<br />
We at Eastman honor the legacy, tradition and the new musical ethos by offering the best<br />
instruments we can to the new breed of roots music devotees.<br />
Steeped in this tradition and mindful of the needs of today’s players, we handcraft our<br />
instruments to play smoothly and powerfully and to sit right where you need them in the<br />
mix. Our guitars feature luscious bottom end to drive the rhythm and create a supportive<br />
counterpoint to vocal arrangements.<br />
While preserving all the complex harmonic overtones of the iconic vintage instruments of<br />
the 1930’s and 40’s, Eastman guitars are also painstakingly voiced to provide a modern<br />
clarity that makes a dynamic impact on your music. Our coveted mandolins have rightfully<br />
earned a great reputation and following because they deliver a “killer chop” with a rich<br />
woody tone and a clear treble “cut” that allows the player to attack as hard as they desire,<br />
or focus on soft nuanced subtleties. And Eastman’s faithful re-creation of the 1903<br />
Fairbanks Whyte Laydie II is the very definition of turn-of-the-century banjo tone.
45<br />
MDA815-SB<br />
Top:<br />
Back/Sides:<br />
Neck:<br />
Fingerboard:<br />
Nut:<br />
Bridge/Saddle:<br />
Binding:<br />
Scale Length:<br />
Finish:<br />
Case:<br />
Available Finishes:<br />
Carved Solid Spruce<br />
Carved Flamed Maple<br />
Maple<br />
Ebony<br />
Bone<br />
Fitted Adjustable Ebony<br />
Ivoroid<br />
15 7/8”<br />
Nitrocellulose Lacquer<br />
Hardshell Case<br />
Clasic, Sunburst<br />
FF<br />
MDC804<br />
Top:<br />
Back/Sides:<br />
Neck:<br />
Fingerboard:<br />
Nut:<br />
Bridge/Saddle:<br />
Binding:<br />
Scale Length:<br />
Finish:<br />
Case:<br />
Available Finishes:<br />
Carved Solid Spruce<br />
Carved Flamed Maple<br />
Maple<br />
Ebony<br />
Bone<br />
Fitted Adjustable Ebony<br />
Ivoroid<br />
25”<br />
Nitrocellulose Lacquer<br />
Hardshell Case<br />
Classic, Sunburst<br />
Ronnie McCoury<br />
of the band<br />
The Travelin McCourys<br />
McCoury plays the MD515, MDC805<br />
O<br />
F
46<br />
EASTMANGUITARS.COM<br />
EU3C<br />
EBJ-WL1<br />
Top:<br />
Solid Mahogany<br />
Top:<br />
Consumate Frailing<br />
Back/Sides:<br />
Solid Mahogany<br />
Back/Sides:<br />
Made to pre Vega Specs<br />
Neck:<br />
Mahogany<br />
Rim:<br />
10 3/4”<br />
Fingerboard:<br />
Rosewood<br />
Scale Length:<br />
26”<br />
Nut:<br />
Bone<br />
Nut Width:<br />
1 5/16”<br />
Bridge/Saddle:<br />
Rosewood Anchor Style<br />
Bridge/Saddle:<br />
Substantial feeling early<br />
Binding:<br />
Rosewood<br />
banjo neck<br />
Scale Length:<br />
14 5/8”<br />
Finish:<br />
Nitrocellulose Lacquer<br />
Case:<br />
Hardshell Case<br />
S C T<br />
<strong>2017</strong> PRODUCTION MODELS (US & CANADA)<br />
ANTIQUE VARNISH SERIES<br />
Model<br />
Finish<br />
Top<br />
Back/Sides<br />
Body Style<br />
T49/V<br />
T58/V<br />
T59/V<br />
SB59/V<br />
SB59<br />
E10OOSS/V<br />
E10SS/V<br />
MD815/V<br />
MD814/V-BK<br />
MD805/V<br />
Classic/Amber<br />
Classic/Amber<br />
Classic/Amber<br />
Classic/Amber<br />
Sunburst/Goldburst<br />
Classic<br />
Classic<br />
Classic<br />
Black<br />
Classic<br />
Laminate Maple<br />
Carved Spruce<br />
Deluxe Laminate<br />
Maple<br />
Maple<br />
Adirondack Spruce<br />
Adirondack Spruce<br />
Adirondack Spruce<br />
Adirondack Spruce<br />
Adirondack Spruce<br />
Laminate Maple<br />
Laminated Flame Maple<br />
Deluxe Laminate<br />
Mahogany<br />
Mahogany<br />
Mahogany<br />
Mahogany<br />
Flamed Maple<br />
Flamed Maple<br />
Flamed Maple<br />
16” Florentine Cutaway<br />
16” Venetian Cutaway<br />
16” Double cutaway w/full block<br />
Single Cut Solid Body<br />
Single Cut Solid Body<br />
OOSS<br />
SS<br />
F-Style With F-Holes W/Antique Varnish<br />
F-Style With Oval Holes W/Antique Varnish<br />
A-Style With F-Holes<br />
TRADITIONAL SERIES – (E) Acoustic Electric Model<br />
E6OM (E)<br />
E6D (E)<br />
E6D-12 (E)<br />
E8OM (E)<br />
E8D (E)<br />
E10D (E)<br />
E10DL (E)<br />
E10SS (E)<br />
E10OM (E)<br />
E10OO (E)<br />
E10OO-M<br />
E10OOSS<br />
E10P (E)<br />
E20OM (E)<br />
E2OOMCE<br />
E20D (E)<br />
E20P (E)<br />
E20SS (E)<br />
E20OO (E)<br />
E20OOSS<br />
E40D (E)<br />
E40-OM (E)<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural/Sunburst<br />
Natural<br />
Sunburst<br />
Natural/Sunburst<br />
Natural<br />
Natural<br />
Sunburst<br />
Natural/Sunburst<br />
Natural/Sunburst<br />
Natural<br />
Natural/Sunburst<br />
Natural/Sunburst<br />
Sunburst<br />
Natural<br />
Sunburst<br />
Natural/Sunburst<br />
Natural/Sunburst<br />
Sitka Spruce<br />
Sitka Spruce<br />
Sitka Spruce<br />
Sitka Spruce<br />
Sitka Spruce<br />
Adirondack Spruce<br />
Adirondack Spruce<br />
Adirondack Spruce<br />
Adirondack Spruce<br />
Adirondack Spruce<br />
Mahogany<br />
Adirondack Spruce<br />
Adirondack Spruce<br />
Adirondack Spruce<br />
Adirondack Spruce<br />
Adirondack Spruce<br />
Adirondack Spruce<br />
Adirondack Spruce<br />
Adirondack Spruce<br />
Adirondack Spruce<br />
Adirondack Spruce<br />
Adirondack Spruce<br />
Mahogany<br />
Mahogany<br />
Mahogany<br />
Rosewood<br />
Rosewood<br />
Mahogany<br />
Mahogany<br />
Mahogany<br />
Mahogany<br />
Mahogany<br />
Mahogany<br />
Mahogany<br />
Mahogany<br />
Rosewood<br />
Rosewood<br />
Rosewood<br />
Rosewood<br />
Rosewood<br />
Rosewood<br />
Rosewood<br />
Rosewood<br />
Rosewood<br />
Orchestra Model<br />
Dreadnought<br />
Dreadnought<br />
Orchestra Model<br />
Dreadnought<br />
Dreadnought<br />
Dreadnought<br />
Slope Shoulder<br />
Orchestra Model<br />
OO<br />
OO<br />
OOSS<br />
Parlor<br />
Orchestra Model<br />
Orchestra Model<br />
Dreadnought<br />
Parlor<br />
Slope Shoulder<br />
OO<br />
OOSS<br />
Dreadnought<br />
Orchestra Model
47<br />
<strong>2017</strong> PRODUCTION MODELS (US & CANADA)<br />
ARCHTOP SERIES<br />
Model<br />
Finish<br />
Top<br />
Back/Sides<br />
Body Style<br />
AR371CE<br />
AR372CE<br />
AR403CE<br />
AR405E<br />
AR503CE<br />
AR580CE<br />
AR603CE-15<br />
AR605CE<br />
AR610<br />
AR610CE<br />
AR803CE-16<br />
AR805CE<br />
AR805LCE<br />
AR810CE<br />
AR810CE-7<br />
AR905CE<br />
AR910CE<br />
AR380CE-HB<br />
AR680CE<br />
AR880CE<br />
FV680CE-SB<br />
Classic/Blonde/Sunburst<br />
Classic/Blonde/Sunburst<br />
Classic/Sunburst<br />
Classic/Sunburst<br />
Classic/Sunburst<br />
Blue/Honeyburst<br />
Classic/Classic Sunburst<br />
Classic/Classic Sunburst<br />
Classic/Classic Sunburst<br />
Classic/Classic Sunburst<br />
Classic/Sunburst<br />
Classic/Sunburst<br />
Classic/Sunburst<br />
Classic/Sunburst<br />
Classic/Sunburst<br />
Classic/Sunburst/Blonde<br />
Classic/Sunburst/Blonde<br />
Honeyburst<br />
Classic<br />
Classic/Sunburst/Blonde<br />
Sunburst<br />
Laminated Maple<br />
Laminated Maple<br />
Laminated Maple<br />
Laminated Maple<br />
Spruce<br />
Spruce<br />
Spruce<br />
Spruce<br />
Spruce<br />
Spruce<br />
Spruce<br />
Spruce<br />
Spruce<br />
Spruce<br />
Spruce<br />
Spruce<br />
Spruce<br />
Laminated Maple<br />
Spruce<br />
Spruce<br />
AAA Tight Grained Spruce<br />
Laminated Maple<br />
Laminated Maple<br />
Laminated Maple<br />
Laminated Maple<br />
Laminated Maple<br />
Laminated Maple<br />
Mahogany<br />
Mahogany<br />
Mahogany<br />
Mahogany<br />
Maple<br />
Maple<br />
Maple<br />
Maple<br />
Maple<br />
Maple<br />
Maple<br />
Laminated Maple<br />
Mahogany<br />
Maple<br />
Highly Figured Mahogany<br />
16” Florentine cutaway<br />
16” Florentine cutaway<br />
16” Venetian cutaway<br />
Non cutaway<br />
16” Venetian cutaway<br />
16” Venetian cutaway<br />
15” Venetian Cutaway<br />
16” Venetian cutaway<br />
17” Non cutaway<br />
17” Venetian cutaway<br />
16” Venetian cutaway<br />
16” Venetian cutaway<br />
16” Venetian cutaway/ Left handed<br />
17” Venetian cutaway<br />
17” Venetian cutaway 7-string<br />
16” Venetian cutaway/maple binding<br />
17” Venetian cutaway/maple binding<br />
16” Florentine cutaway<br />
16” Venetian cutaway<br />
16” Venetian cutaway<br />
Thorel/Vignola Designed Custom Jazz<br />
EL REY SERIES<br />
ER1<br />
ER2<br />
ER3<br />
ER4<br />
Classic/Classic Sunburst<br />
Classic/Sunburst<br />
Classic/Classic Sunburst<br />
Classic/Sunburst<br />
Spruce<br />
Spruce<br />
Maple<br />
Spruce<br />
Mahogany<br />
Maple<br />
Mahogany<br />
Mahogany<br />
14” Neck block cutaway<br />
14” Neck block cutaway<br />
14” Neck block cutaway<br />
16” El Rey Model<br />
PAGELLI SIGNATURE SERIES<br />
PG1<br />
PG2<br />
Classic<br />
Blonde<br />
Spruce<br />
Spruce<br />
Maple<br />
Maple<br />
17” Asymmetrical design<br />
17” Asymmetrical design<br />
THINLINE SERIES<br />
T184MX<br />
T184MX-LS<br />
T185MX<br />
T186MX<br />
T146SM<br />
T386<br />
T486<br />
T486B<br />
T486-RB (Ray Benson)<br />
Classic/Classic Sunburst/ Blonde<br />
Black<br />
Classic/Classic Sunburst/ Blonde<br />
Classic/Classic Sunburst/ Blonde<br />
Classic/Sunburst<br />
Classic/Red/Sunburst<br />
Classic/Red/Sunburst/Black<br />
Classic/Red/Sunburst/Black<br />
Red<br />
Maple<br />
Maple<br />
Maple<br />
Maple<br />
Spruce<br />
Laminated Maple<br />
Deluxe Laminate<br />
Deluxe Laminate<br />
Deluxe Laminate<br />
Mahogany<br />
Mahogany<br />
Mahogany<br />
Mahogany<br />
Maple<br />
Laminated Maple<br />
Deluxe Laminate<br />
Deluxe Laminate<br />
Deluxe Laminate<br />
14” double cutaway<br />
14” double cutaway<br />
15” double cutaway<br />
16” double cutaway<br />
16” single cutaway<br />
16” Double cutaway w/full block<br />
16” Double cutaway w/full block<br />
16” Double cutaway w/full block<br />
16” Double cutaway w/full block<br />
MANDOLIN FAMILY<br />
MD304<br />
MD305<br />
MD315<br />
MD404-BK<br />
MD415<br />
MD504<br />
MD505<br />
MD514<br />
MD515<br />
MD515L<br />
MD604<br />
MD605<br />
MD614<br />
MD615<br />
MD805<br />
MD805PGE<br />
MD814<br />
MD814-BD<br />
MD815<br />
MD815PGE<br />
MD905<br />
MD915<br />
MDA815<br />
MDC804<br />
MDC805<br />
MDB102-RS<br />
MDB102-MS<br />
Classic<br />
Classic<br />
Classic<br />
Black<br />
Black/Gold<br />
Classic/Classic Sunburst<br />
Classic/Classic Sunburst<br />
Classic/Classic Sunburst<br />
Classic/Classic Sunburst<br />
classic<br />
Classic/Sunburst<br />
Classic/Sunburst<br />
Classic/Sunburst<br />
Classic/Sunburst<br />
Classic/Sunburst<br />
Blue/Honeyburst<br />
Classic/ Sunbrst<br />
Blonde<br />
Classic/Sunburst<br />
Blue/Honeyburst<br />
Classic/Sunburst<br />
Classic/Sunburst<br />
Classic/Sunburst<br />
Classic/Sunburst<br />
Classic/Sunburst<br />
Natural<br />
Natural<br />
Spruce<br />
Spruce<br />
Spruce<br />
Spruce<br />
Spruce<br />
Spruce<br />
Spruce<br />
Spruce<br />
Spruce<br />
Spruce<br />
Spruce<br />
Spruce<br />
Spruce<br />
Spruce<br />
Adirondack Spruce<br />
Adirondack Spruce<br />
Adirondack Spruce<br />
Adirondack Spruce<br />
Adirondack Spruce<br />
Adirondack Spruce<br />
Adirondack spruce<br />
Adirondack spruce<br />
Spruce<br />
Spruce<br />
Spruce<br />
Spruce<br />
Spruce<br />
Maple<br />
Maple<br />
Maple<br />
Mahogany<br />
Mahogany<br />
Maple<br />
Maple<br />
Maple<br />
Maple<br />
Maple<br />
Maple<br />
Maple<br />
Maple<br />
Maple<br />
Flamed Maple<br />
Flamed Maple<br />
Flamed Maple<br />
Flamed Maple<br />
Flamed Maple<br />
Flamed Maple<br />
Sugar maple<br />
Sugar maple<br />
Maple<br />
Maple<br />
Maple<br />
Alternating Rosewood staves<br />
Alternating Maple staves<br />
A-Style With Oval Hole<br />
A-Style With F-Holes<br />
F-Style With F-Holes<br />
A-Style With Oval Hole - Black Top<br />
F-Style With F-Holes<br />
A-Style With Oval Hole<br />
A-Style With F-Holes<br />
F-Style With Oval Hole<br />
F-Style With F-Holes<br />
F-Style With F-Holes left handed<br />
A-Style With Oval Hole<br />
A-Style With F Hole<br />
F-Style With Oval Hole<br />
F-Style With F-Holes<br />
A-Style With F-Holes<br />
A-Style With F-Holes w/ elec<br />
F-Style With Oval Hole<br />
F-Style With Oval Hole<br />
F-Style With F-Holes<br />
F-Style With F-Holes w/ elec<br />
A-Style With F-Holes W/Oil Varnish Finish<br />
F-Style With F-Holes W/Oil Varnish Finish<br />
F-Style With F-Holes Mandola<br />
Oval Mandocello<br />
F Hole Mandocello<br />
Neopolitan Bowl Back Mandolin<br />
Neopolitan Bowl Back Mandolin
48<br />
<strong>2017</strong> PRODUCTION MODELS (US & CANADA)<br />
PHOTO CREDITS<br />
TRAVEL<br />
Model Finish Top Back/Sides Body Style<br />
ACTG1<br />
ACTG2E<br />
PCH<br />
PCH1-D<br />
PCH1-OM<br />
PCH1-GACE<br />
AC SERIES<br />
AC-OM1<br />
AC-OM2<br />
AC-DR1<br />
AC-DR2<br />
AC-GA1CE<br />
AC-GA2CE<br />
AC120<br />
AC120CE<br />
AC122<br />
AC122CE<br />
AC220<br />
AC220CE<br />
AC222<br />
AC222CE<br />
AC320<br />
AC320CE<br />
AC320LCE<br />
AC322<br />
AC322CE<br />
AC420<br />
AC420CE<br />
AC422<br />
AC422CE<br />
AC420CE-BA<br />
AC508CE<br />
AC522CE<br />
AC622CE<br />
AC630CE<br />
AC630-BD<br />
AC630CE-12<br />
AC708CE<br />
AC722CE<br />
AC808CE<br />
AC812CE<br />
AC820CE<br />
AC822CE<br />
AC822CE-FF<br />
CLASSICAL<br />
CL10s<br />
CL20C<br />
CL30S<br />
CL40S<br />
CL81S<br />
CL82S<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Blonde<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Natural<br />
Traditional<br />
Traditional<br />
Traditional<br />
Traditional<br />
Traditional<br />
Traditional<br />
Sitka Spruce<br />
Solid Sapele<br />
Solid Sitka Spruce<br />
Solid Sitka Spruce<br />
Solid Sitka Spruce<br />
Sitka Spruce<br />
Sapele<br />
Sitka Spruce<br />
Sapele<br />
Sitka Spruce<br />
Sapele<br />
Sitka Spruce<br />
Sitka Spruce<br />
Sitka Spruce<br />
Sitka Spruce<br />
Sitka Spruce<br />
Sitka Spruce<br />
Sitka Spruce<br />
Sitka Spruce<br />
Sitka Spruce<br />
Sitka Spruce<br />
Sitka Spruce<br />
Sitka Spruce<br />
Sitka Spruce<br />
Sitka Spruce<br />
Sitka Spruce<br />
Sitka Spruce<br />
Sitka Spruce<br />
Sitka Spruce<br />
Engelmann Spruce<br />
Engelmann Spruce<br />
Engelmann Spruce<br />
Engelmann Spruce<br />
Engelmann Spruce<br />
Engelmann Spruce<br />
Engelmann Spruce<br />
Engelmann Spruce<br />
European Spruce<br />
European Spruce<br />
European Spruce<br />
European Spruce<br />
European Spruce<br />
AAA Tight grained Spruce<br />
AAA Tight grained Cedar<br />
AAA Tight grained Spruce<br />
AAA Tight grained Spruce<br />
AAA Tight grained Spruce<br />
AAA Tight grained Spruce<br />
Laminated Sapele<br />
Solid Sapele<br />
Mahogany Laminate<br />
Mahogany Laminate<br />
Mahogany Laminate<br />
Sapele<br />
Sapele<br />
Sapele<br />
Sapele<br />
Sapele<br />
Sapele<br />
Laminated Sapele<br />
Laminated Sapele<br />
Laminated Sapele<br />
Laminated Sapele<br />
Laminated Rosewood<br />
Laminated Rosewood<br />
Laminated Rosewood<br />
Laminated Rosewood<br />
Sapele<br />
Sapele<br />
Sapele<br />
Sapele<br />
Sapele<br />
Rosewood<br />
Rosewood<br />
Rosewood<br />
Rosewood<br />
Rosewood<br />
Mahogany<br />
Mahogany<br />
Maple<br />
Maple<br />
Maple<br />
Maple<br />
Rosewood<br />
Rosewood<br />
Indian Rosewood<br />
Indian Rosewood<br />
Indian Rosewood<br />
Indian Rosewood<br />
Indian Rosewood<br />
Laminated Mahogany<br />
Indian Rosewood<br />
Mahogany<br />
Indian Rosewood<br />
Indian Rosewood<br />
Indian Rosewood<br />
Travel<br />
Travel with Fishman Pickup<br />
Dreadnought<br />
Orchestra Model<br />
Grand Auditorium w/ Ctwy Elc<br />
Orchestra Model<br />
Orchestra Model<br />
Dreadnought<br />
Dreadnought<br />
Grand Auditorium w/ Ctwy Elc<br />
Grand Auditorium w/ Ctwy Elc<br />
Dreadnought<br />
Dreadnought w/ Ctwy Elec<br />
Grand Auditorium<br />
Grand Auditorium w/ Ctwy Elec<br />
Dreadnought<br />
Dreadnought w/ Ctwy Elec<br />
Grand Auditorium<br />
Grand Auditorium w/ Ctwy Elec<br />
Dreadnought<br />
Dreadnought w/ Ctwy Elec<br />
Dreadnought w/ Ctwy Elec Left Handed<br />
Grand Auditorium<br />
Grand Auditorium w/Ctwy Elec<br />
Dreadnought<br />
Dreadnought w/ Ctwy Elec<br />
Grand Auditorium<br />
Grand Auditorium w/Ctwy Elec<br />
Dreadnought<br />
Grand Concert w/Slotted Headstock<br />
Grand Auditorium w/ Ctwy Elec<br />
Grand Auditorium w/ Ctwy Elec<br />
Jumbo w/ Ctwy Elec<br />
Full bodied Jumbo<br />
Jumbo 12 String w/ Ctwy Elec<br />
Grand Concert w/Ctwy Elec<br />
Grand Auditorium w/Ctwy Elec<br />
Grand Concert w/Ctwy Elec<br />
OM w/Ctwy Elec<br />
Dreadnought w/Ctwy Elec<br />
Grand Auditorium w/Ctwy Elec<br />
Fanned Fret Grand Auditorium w/<br />
Cutaway Elec<br />
Traditional Concert Specifications<br />
Traditional Concert Specifications<br />
Traditional Concert Specifications<br />
Traditional Concert Specifications<br />
Traditional Concert Specifications<br />
Traditional Concert Specifications<br />
Page 3 — Shop<br />
Shane Deuel<br />
Page 6 — Shop<br />
Julien Creff<br />
Page 10 — Jon Herington<br />
Jon Gorr<br />
Page 11 — David Vandervelde<br />
James Hill<br />
Page 13 — Craig Bartock<br />
Monica Cole<br />
Page 15 — Shop<br />
Jim Sullivan<br />
Page 19 — Frank Vignola<br />
TrueFire.com<br />
Page 21 — Nicole Atkins<br />
Ryan McHugh<br />
Page 22 — Noah Guthrie<br />
Rhett Shull<br />
Page 24 — Mitchell Long<br />
Bob Barry<br />
Page 24 — Cass McCombs<br />
Rachel Pony Cassells<br />
Page 28 — Jackson Phillips<br />
Pooneh Ghana<br />
Page 29 — Trey Hensley<br />
Trey Hensley<br />
Page 30 — Gaz Coombes<br />
Rankin<br />
Page 34 — Neal Casal<br />
Megan McIsaac<br />
Page 35 — The Common Linnets<br />
Paul Bellaart<br />
Page 39 — Nels Cline<br />
Zoran Orlic<br />
Page 40 — Ethan Johns<br />
Jennifer Tipoulow<br />
Page 42 — Frank Solivan<br />
Saulo Zayas<br />
Page 43 — The Eastman String Band<br />
Steve Barrett<br />
Page 45 — Ronnie McCoury<br />
Saulo Zayas<br />
UKULELE<br />
EU3S<br />
EU3C<br />
EU3T<br />
Classic<br />
Classic<br />
Classic<br />
Figured Mahogany<br />
Figured Mahogany<br />
Figured Mahogany<br />
Figured Mahogany<br />
Figured Mahogany<br />
Figured Mahogany<br />
Soprano Size Ukulele<br />
Concert Size Ukulele<br />
Tenor Size Ukulele<br />
BANJO<br />
EBJ-WL1<br />
Open Back Banjo, Maple neck, Ebony fingerboard, chrome hardware, Gotoh tuners
2158 Pomona Blvd, Pomona, CA 91768<br />
800.789.2216<br />
eastmanguitars.com