GUITARS & MANDOLINS - Musicsale

2 0 1 7G U I T A R S & M A N D O L I N S

“Thank you for taking the time to learn about our company and our latest instruments we’ve been working so hard to develop. It has been an honor and privilege to design and build all the guitars and mandolins in this catalog with such a passionate team of luthiers and musicians. We are incredibly proud of our instruments and are grateful for your support. Thank you!”

- Qian Ni, Founder & CEO

A N E X P A N D I N G W O R L D O F S O U N D

2017 CATALOG

Founded in 1992 by a young immigrant, Qian Ni, Eastman Strings was from the start recognized as one of the world’s finest makers of orchestral stringed instruments. In the great tradition of such luthiers as Antonio Stradivari, Lloyd Loar (Gibson), and John D’Angelico, we built from a foundation in violin-making to produce some of the best fretted instruments anywhere.

In 2004, we continued to evolve by creating our first guitars: three archtops that were displayed at the winter NAMM show in California. The response at this music-industry gathering was immediate and overwhelming. Players from around the world remarked at the archtops’ craftsmanship and acoustic properties. Only a few years later, with the help of a team of passionate luthiers, we introduced our acclaimed mandolins and flattop guitars.

What makes this work so special? The craftsmanship. Eastman guitars and mandolins are always hand-made by skilled luthiers, many of whom have been with us from the beginning. Their commitment to personally creating each instrument separates us from many modern builders; aware that each piece of wood is unique and must be treated as such, our luthiers ensure that the graduations and bracings are tailored for every instru-ment. The result, we believe, is a superior tone that all players can hear — and more. Legendary jazz guitarist John Pisano often comments on not only our guitars’ acoustic properties, but on the way he can literally feel the instrument vibrate against his body, “as if it’s alive.”

And our guitars continue to evolve, inspired and enhanced by our proven excellence with other stringed instruments. The models in our new Varnish Antique Series, for example, come with an extraordinary finish originally developed for our carefully considered and vaunted violins. Meanwhile, our mandolins and classical guitars feature the sort of delicate stringing that’s honed by years of broad lutherie experience. This kind of cross-pollination within our company, in which work on one kind of instrument positively influences another, keeps our tradition of unparalleled craftsmanship expanding — and thriving.

We’re incredibly lucky to have so many talented artists appreciate our work, and we hope you visit one of our dealers around the world to see, to hear, and to feel an Eastman for yourself.

A dedication to excellence, a commitment to craft.

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The phrase “new antique” might sound like a contradiction — but not when it applies to Eastman’s Varnish Antique Series. This line of guitars is built on a mix of time-honored craft and ahead-of-the-curve thinking utilizing classic technique with a decidedly fresh approach. And yes, it all starts with the finish.

Eastman violins have always been distinguished by their consis-tently rich hue varnish that is matched by an equally rich tone. This unique, even Stradavarius-like quality is the result of a proprietary process rooted in a tradition going back to the 16th century during the Golden Age of violin making. And now Eastman is bringing that time-tested, violin-oriented process to the world of guitars.

No doubt a few existing guitars can lay claim to truly special finish-ing work. But such models tend to be collectibles, reserved exclu-sively for upmarket buyers who treasure the handmade attention to detail. The Varnish Antique Series is designed to make such a rare and labor-intensive feature more available to guitar enthusi-asts, with the proof in the distinctive look and sound.

And just what is it exactly that produces that look and sound? Therein lies the signature magic. Li Hua Rong, who manages Eastman’s refined varnish shop is willing to provide a few answers, but she’ll only reveal so much. The process itself, she relays, features six distinct steps starting with a basecoat application to fill the grain, then moving to color application, and concluding with a French polish. Ultimately, three or four coats of material are applied and sanded thin. The result is softer than lacquer, creating a smoother tone.

When Pepijn ‘t Hart of Eastman Europe visited the workshop in Beijing with a guitar and asked if it were possible to replicate Hua’s special process on a larger instrument, she had him do some play-ing to get a sense of how guitars aged, and soon set to work. From there a new line formed.

We added Seymour Duncan Seth Lovers or Antiquity P90’s, TV Jones brushed nickel classics, and aged Gotoh hardware to make it possible to own a brand-new, vintage feeling, “antique” instrument fresh out of our workshop.

Vintage Gets a New Varnish The Heart of the Eastman Workshop Honored

T H E

A N T I Q U EV A R N I S H

S E R I E S

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Available Finishes:

Maple Laminate

Maple Laminate

Maple

Ebony

Bone

Tune-o-matic

Ivoriod

24.75”

Seymour Duncan Seth Lover


Antique Varnish

Hardshell Case

Antique Classic, Antique Amber

T59/v

CLv

AMBv

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Neck:

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Carved Spruce

Laminated Flamed Maple

3 piece maple

Ebony

Bone

Ebony, 2-3/32” Spacing

Wood , 5-ply top, 3-ply back

25”

TV Jones Filtertrons

TV Jones Filtertrons

Antique Varnish

Hardshell Case


T58/v-AMB

VNCLv

CLv

VNAMBv

AMBv

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Neck:

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Scale Length:

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Bridge Pickup:

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Available Finishes:

Laminated Maple

Laminated Maple

3 piece maple

Rosewood

Bone

Rosewood compensated,

2-3/32” Spacing

Ivoroid 5-ply top, 3-ply back,

Single ply neck

24.75”


N/A

Antique Varnish

Hardshell Case


T49/vTHINLINE ARCHTOP ARCHTOP

T H E A N T I Q U E V A R N I S H S E R I E S E A S T M A N G U I T A R S . C O M

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Adirondack

Mahogany

Mahogany

Rosewood

Bone

Rosewood/ Bone

Ivory

24.75”

Antique Varnish

Hardshell Case

Classic

E10SS/vTRADITIONAL

SS

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Adirondack

Mahogany

Mahogany

Rosewood

Bone

Rosewood/ Bone

Ivory

24.75”

Antique Varnish

Hardshell Case

Classic

E10 OOSS/v

OOSS

TRADITIONAL

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Solid Adirondack

Carved Flamed Maple

Maple

Ebony

Bone

Fitted Adjustable Ebony

Ivoroid

13 7/8”

Antique Varnish

Hardshell Case

Classic

MD815/v

AF FF AF AF FO

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Solid Adirondack

Carved Flamed Maple

Maple

Ebony

Bone


Ivoroid

13 7/8”

Antique Varnish

Hardshell Case

Classic

MD805/v

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Solid Adirondack

Carved Flamed Maple

Maple

Ebony

Bone


Ivoroid

13 7/8”

Antique Varnish

Hardshell Case

Black

MD814/v-BK

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MANDOLIN MANDOLIN MANDOLIN

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Hand Carved Maple

Solid Carved Mahogany

Mahogany

Ebony

Bone

Gotoh/Tunomatic

Flame Maple Multiply

25”

Seymour Duncan

Serth Lovers

Seymour Duncan

Serth Lovers

Nitrocellulose Lacquer

Hardshell Case

Classic, Sunburst, Blonde

T186MX

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Hand Carved Maple


Mahogany

Ebony

Bone

Gotoh/Tunomatic

Flame Maple Multiply

25”

Seymour Duncan 59

Seymour Duncan 59


Hardshell Case


T184MX-BD

CL

CL

SB

SB

BD

BD

T H E

T H I N L I N ES E R I E S

When we decided to offer thinline electrics, we knew we wanted to capture the soul of the great blues and rock players who came before. Eastman thinline guitars are handcrafted and lacquered — the way they ought to be. They have a warm, rich

tone and feature premium pickups from the world’s finest manufacturers, meticulously selected for

maximum character. The instruments in our Thinline Series — whether featuring solid construction for

the warmer, fuller tones or laminate construction for those times on stage when things need to get louder

— possess unique characteristics made possible by the differences in body style, tone woods,

construction, and size.

Talking with Jon HeringtonHOW DID YOU HOOK UP WITH THE GUYS IN STEELY DAN?

My friend Ted Baker, a fantastic piano player, had been doing lots of tracking sessions with Donald and Walter for the Two Against Nature recording. They had been working on that record for a couple of years, and in late 1999 they asked Ted to recom-mend a guitar player. He had a copy of my first solo record, a collection of instrumental music in a style influenced by Weather Report, among others, and he played a bit of the first track for Donald and Walter. From what I gather, somebody made some wisecrack about the derivative nature of the music, but shortly after that I got a call from Walter asking me to come in and do some overdubs. I ended up doing several days of work on that record, and at one of the sessions they said they were planning a

big touring year to accompany the release of the new record, and they asked me if I’d be interested in playing guitar.

DONALD FAGEN AND WALTER BECKER ARE KNOWN FOR BEING VERY PARTICU-LAR IN THE STUDIO. WHAT WAS YOUR FIRST STUDIO SESSION WITH STEELY DAN LIKE?

It went smoothly, I thought. We worked for about four hours on one rhythm guitar part, and did many takes without too many comments about what I should do differently the next time. But they’re used to taking their time and enjoying the luxury of a relaxed pace in the studio. They didn’t seem overly particular or fussy to me, and I was happy to continue trying to play more takes to see if we got

FEATURED MUSICIAN

RD

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Deluxe Laminate Maple

Deluxe Laminate Maple

Maple

Ebony

Bone

Gotoh Tunomatic

Ivoroid

24.75”

Lollar Low-wind Imperial

Lollar El Rayo Bridge

Satin Matte

Hardshell Case

Trans Red

T486-RB

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Maple Laminate

Maple Laminate

3 Piece Maple

Rosewood

Bone

Tunomatic Style

Ivoriod

24.75”

Kent Armstrong HPAN-1N

Kent Armstrong HPAN-1B


Hardshell Case

Classic, Red, Sunburst

T386

9

CL SB RD

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something they liked better. We finished that day, and they were happy enough to ask me if I happened to be free next week to come back and do some more. I said sure, of course. The week went by and I didn’t hear anything. Another couple of weeks went by — nothing. I pretty much gave up on it and wrote it off. Then about five weeks after the original session, I got another call from Walter. He asked me if I remembered the session I had played and of course I said yes. Then he told me that they were not going to use anything I played that day. He paused and I said, OK. Then he said he wanted me to come back in and play on several other tunes. So I went back several times and ended up on four tracks of the Two Against Nature record.

YOU HAVE CERTAIN MODIFICATIONS MADE TO SOME OF YOUR GUITARS. WHAT ARE THEY?

I typically have several things done, even to brand-new guitars. I prefer a single master volume control, so if a guitar has more than one volume control I have it rewired. I often replace the frets with a taller and wider fret size. And I usually find I have to install a little network of a capacitor and a resistor to create a high pass filter on the volume control, too. I don’t like the way a lot of guitars seem to lose their high-end response when you roll back the volume control. This network fixes that. I also often relocate the pickup selector switch, and make room for the master volume to be closer to my right hand, because I tend to use the volume control a lot.

WHAT DREW YOU TO EASTMAN?

The first time I played an Eastman guitar was when I was subbing for Scott Kuney in the Broadway pit of Spamalot. He didn’t want to leave his valuable L5 in the pit, and had bought an Eastman archtop to replace it there. I played it when it was brand-new, and right away it felt better and sounded better than the L5 to my ears. But the astonishing thing was that when I went back a couple of months later and played that same guitar, the difference in tone was incredible. In that short amount of time, with all the music happening in that space with eight shows a week, it had blossomed in an unbelievable way, and sounded huge. I was very impressed, obviously, and never forgot it. Years later, when I happened to be in touch with Eastman, I jumped at the chance to check out some of their instruments.

HOW WOULD YOU DESCRIBE THE SOUND OF YOUR E10OOSS AND MD604?

I love the double O because of its big tone in that small body size. It’s very alive, like all the Eastman instruments I’ve heard (good wood and workman-ship!), and I find it very useful for recording applica-tions because, unlike the mostly larger acoustic guitars I’ve owned, its low end is extremely focused and more controlled.

The oval hole mandolin has always been a favorite of mine — I prefer it to the brighter and more cutting f-hole styles. And the Eastman mandolin sounds like a little cannon! It’s really alive and loud, but it has a richer tone than the f-hole mandolins I’ve played before.

Herington plays the Thinline T184MX, Mandolin MD604, and Traditional E10OOSS.

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Available Finishes:

Maple Laminate

Maple Laminate

3 Piece Maple

Ebony

Bone

Tunomatic Style w/

Bigsby Tremelo

Ivoriod

24.75”

Seymour Duncan

Phat-Cat Neck

Seymour Duncan

Phat-Cat Bridge


Hardshell Case

Classic, Red,

Sunburst, Black

T486B

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Maple Laminate

Maple Laminate

3 Piece Maple

Ebony

Bone

Tunomatic Style

Ivoriod

24.75”

Seymour Duncan Jazz

Seymour Duncan 59


Hardshell Case

Classic, Red,

Sunburst, Black

T486-SB

CL RD SB BK

David Vanderveldeof the band

Father John Misty, Tess And Dave

Vandervelde plays the Thinlines T486-B

and the Traditional E20OO

CL RD SB BK

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T H E

S O L I D B O D YS E R I E S

Top:

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Available Finishes

Highly Figured Book Matched Maple

Solid One Piece Mahogany

One Piece Mahogany

Rosewood

Bone

Gotoh Aged Relic

Ivoroid

24.75”

Seymour Duncan Antiquity Humbuckers

(SD ‘59 on Lacquer)

Seymour Duncan Antiquity Humbuckers

(SD ‘59 on Lacquer)

Antique Varnish

Hardshell Case

Antique Classic Varnish, Antique Amber Varnish,

Sunburst Lacquer, Gold Burst Lacquer

SB59/v

CLv

AMBv

SB GD

When Pepijn ‘t Hart and Pim Schilperoort collaborated on the design of our first solid body guitar, they set out to create something new,

with Eastman’s signature written all over it. Antiqued and varnished in our orchestral strings shop, the SB59/v has the look, feel, and tone, of

a 58-year-old guitar.

We are also offering a gloss version of the SB59 finished in nitro cellulose. Both solid body models feature a hand-carved solid flamed

maple top, on a solid mahogany body. The Gotoh hardware and Seymour Duncan Antiquity humbuckers on the SB59/v and Seymour

Duncan ’59 humbuckers on the SB59 complete one of our hardest rocking instruments to date.

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How did a guy who never even thought of himself as a guitarist end up getting invited to join a famous rock band — as the guitarist? To hear Craig Bartock tell it, he just did his thing. And he kept it simple.

The story goes back to 2002, when Bartock was running his own busy music-production house, producing and developing new pop artists (such as a pre-Oscar Brie Larson) and collaborating with legacy acts like Blondie and Meat Loaf. “As far as my resume goes, playing guitar probably wouldn’t have even been on it,” Bartock says from his home in Northern California. “It would’ve been ‘music producer,’ ‘songwriter,’ ‘arranger,’ blah blah blah.” Then came Heart’s Nancy and Ann Wilson, looking not to organize a nostalgia tour but to find a fresh musical direction.

Bartock and the Wilsons clicked both professionally and personally, co-writing a series of songs right out of the gate. When he then moved into his familiar role as go-to man on the album that emerged (Jupiter’s Darling), Bartock ended up handling many of the guitar parts himself, naturally finding his own way inside the band’s retooled sound — and fabric. “So one day I’m sitting in the studio,” Bartock remembers, “and Nancy kind of just sheepishly said to me, ‘You should really be our guitar player.’ And I’m sitting there thinking, ‘Did she just ask me to join the band?’”

She did, and Bartock accepted, principally because he’d developed such respect for — and personal rapport with — the Wilsons, who, he says, continue to honor their desire to avoid merely milking past glories. “Ann and Nancy as artists just can’t do that,” he says. “I don’t think any of us would want to be a part of a band that’s an oldies act. It’s a fine line between a band that is duplicating their [past] music and a band that feels themselves to be vital.”

Strong relationships and intentions aside, adapting to a job he neither sought nor expected still required a transition-period, particularly when it came to playing live. Bartock hadn’t actually taken to the stage since his young-man-in-a-band days in hometown San Diego, and was quickly thrown into the fire. His first show as an official Heart member

was on the CMT’s “Crossroads,” which meant lots of TV cameras in a sizable Nashville venue. He had all of three days to rehearse.

He got through it by staying in the moment and not trying to do too much. And now, more than a decade later, he abides by his less-is-more approach as the band plays everywhere from ships to “sheds” and he looks to ensure that his tools can withstand the rigors of touring. “The most important thing for a live set-up,” he says, “is you just want it to be working all the time. That’s why I’ve always gone for simplicity. Stick with simple guitars, don’t go through a whole bunch of effects.”

Indeed, simplicity has served Bartock well. He thinks back to those early Heart days, when he was grap- pling with the fact that the band had transformed several times over the years, and had different sets of fans with different sets of expectations. “I realized: There’s no way as a guitar player I’m going to be able to cover all these sounds,” he says with a laugh. “So I better just do it as myself.”

FEATURED MUSICIAN

New Directionswith Craig Bartock

You’re invited — into our workshop.

It is a place you’re sure to love exploring. A place where you will find thou-sands of options for your creation.

The Custom Edition is a new series that honors creativity and furthers our ongoing commitment to superior quality, introducing custom-configured, handcrafted guitars to every level of player. And procuring this is now with-in the reach of any serious guitarist or collector, anywhere in the world.

Eastman’s master luthier, designer Otto D’Ambrosio, is bringing his world-class skills and traditional build-methods to the workshop to create guitars that are guaranteed to be nothing short of stunning. The hand-built Custom models will further reinforce Eastman’s status as the premier, preeminent provider of high-value hand-built guitars.

And beyond our unparalleled craftsmanship comes your personal signature. With the Custom Edition, we have broadened the palette of possibilities by opening the doors to our workshop, where you can engage the creative pro-cess of designing your dream guitar.

Once inside, you might never want to leave. We offer more than 2,000 pos-sible option combinations, including finishes, neck shapes, pickups and frets, and hide-glue neck joints. There are no limits — only opportunities.

For additional details, and to learn how to order your Custom Edition, visit: eastmanguitars.com.

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T H E

C U S T O ME D I T I O N

T H E C U S T O M E D I T I O N E A S T M A N G U I T A R S . C O M

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T H E

F R A N K V I G N O L A

+

R Y A N T H O R E L L

S I G N A T U R E

S E R I E STop:

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Available Finishes:

Solid Hand Carved Spruce

Hand Carved Mahogany

Mahogany

Ebony

Bone

Ebony Compensated

2-3/32” Spacing

Ivroid 4 ply top and back

25.4”

Kent Armstrong

N/A


Hardshell Case

Sunburst

FV680CE-SB

By now, jazz guitarist Frank Vignola’s resume reads like a Hall of Fame plaque. There are the gigs at major venues around the world; the collaborations with everyone from Wynton Marsalis to Ringo Starr to Madonna; the countless books and NPR appearances. It should go without saying, then, that luthiers have long chased his endorsement of their instruments — and that the 51-year-old master has felt no great urgency to give it. “I wasn’t interested unless I truly believed in the guitar,” Vignola now recalls of a process that played out multiple times over the years.

That’s when Ryan Thorell stepped in. The revered Utah-based luthier had a “wild concept” — a hybrid design that would accommodate the virtuo-so’s distinct mix of gypsy and archtop playing styles. “I wanted to approach the gypsy sound from a very Americana perspective, from a carved-top guitar perspective,” Thorell explains. “I wanted the drive of a gypsy guitar to come from

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an instrument that was fresh but carried an original Appalachian and old-world feel.”

The undertaking was ambitious and, in Thorell’s view, “terrifying,” but it turned out to be a “magical collision of intent and opportunity.” The moment he received the instrument, Vignola says, “I absolutely fell in love with it. I immediately called Ryan and told him I wanted to endorse this guitar.” And after Vignola had wowed with it on the road for more than 1000 shows, it was Eastman’s turn to step in, offering to bring Thorell’s singular creation to a wider community of players.

Of course, the primary consideration was doing it right. And just as Thorell had separated himself from the pack, so too had Eastman — to the point where neither guitar-player nor guitar-maker had to be asked twice. “I’ve been such a fan of how Eastman has conducted itself and the ideals it adheres to,” Thorell says, referring to Eastman’s hands-on and nuance-sensitive approach, to its emphasis on quali-ty materials and the personal touch.

The guitar’s very creation, after all, had personal roots. Thorell was 15 when he first saw — and was knocked out by — Vignola’s playing in Salt Lake City, and the two met about a year later, when Vignola ran the jazz department at Arizona State University. (“He used to fly in to take lessons with me,” Vignola recalls.) Later, Vignola became smitten with a cedar guitar that Thorell had made for another client. By the time Thorell was ready to embark on the bold new venture, “I had had Frank’s sound and his unique approach as a guiding inspiration for years.”

The resulting chemistry was so “electric and immediate” that the two didn’t even require much direct contact. “When it’s great,” Thorell says, “both the player and the maker are on the same intuitive page.” In turn, Thorell notes that his relationship with Eastman has evolved out of a similar foundation of trust and respect: “I think Eastman is truly unique in the world of lutherie, in the combination of its reach and its commitment to what I love about the art of guitar-making.”

Vignola, meanwhile, is now happy to extend his endorsement of Thorell beyond the signature guitar. “I truly believe Ryan is next in line to the masters like D’Angelico, D’Aquisto, and Benedetto,” he says. “He is a true genius.”

Moral of the story: When it comes to crafting magic, it always helps to bring the passion.

FRANK VIGNOLA ON THE ROOTS OF JAZZ:

Jazz and blues are the two art forms

that America has, and we should be proud of this. We should teach this in schools. We should also make our kids aware of the great era of music from the 1920’s and 1930’s. This was a special time in history for music, and it’s America’s music.

…AND ON JAZZ TODAY:

Jazz unfortunately has gotten a bad reputation due to musicians caring more about their solos than the audience… It’s unfortunate that the music called “jazz” has gotten so far away from the originator, Louis Armstrong. I believe jazz is so much about the repertoire. The songs of this time period are what jazz musicians of the time were interested in, not a mode. It was about playing songs and communicating with other musicians and especially the audiences. The audience is who these great musicians were playing for, not themselves.

Conversation with Vignola & Thorell

THORELL ON THE NITTY-GRITTY OF THE FRANK VIGNOLA SIGNATURE SERIES:

It’s a carved-top instrument based on an entirely different z-axis structure. The top loading is more akin to a low-load flattop, which allows for very light carving. The bracing brings a simple transverse mode into the tone of an archtop as well, which yields a gypsy-style bark, yet pillowed with all of this warmth and drive of a traditional archtop build.

…AND ON THE ROLE OF THE LUTHIER:

A great luthier is a vessel for the musician, in my opinion. It is a craft first and an art second. I believe the best guitars are natural extension of the players, not lutherie art pieces in contrast to the musician performing on them. Secondly, I believe truly great luthiers have vision to create something that predicts — an instrument that speaks for music to come.

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Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Neck Pickup:

Bridge Pickup:

Finish:

Case:

Available Finishes:

Laminated Maple

Laminated Maple

3 Piece Maple

Rosewood

Bone

Rosewood Compensated

2-3/32” Spacing

Ivoriod 5-Ply

24.75”

Kent Armstrong HPAN-1N

Kent Armstrong HPAN-1B


Hardshell Case


AR372CE-SB

CL SB BD

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Neck Pickup:

Bridge Pickup:

Finish:

Case:

Available Finishes:

Laminated Maple

Laminated Maple

3 Piece Maple

Rosewood

Bone


2-3/32” Spacing

Ivoriod 5-Ply

25”

Kent Armstrong P-90

N/A


Hardshell Case

Classic, Sunburst

AR405E

CL SB

T H E

A R C H T O PS E R I E S

With thousands of Eastman orchestral stringed instruments already being enjoyed by musicians

around the globe, it was an easy decision to take our skills in hand-carving tops and backs to the world of archtop guitars. The result: some of the most coveted and beloved archtop guitars anywhere.

By sourcing premium tone woods and putting them in the hands of luthiers dedicated to producing guitars via the time-honored process of hand-crafting fine instruments, Eastman has in fact

become nothing less than the major force in archtop guitars. We are proud to offer the broadest range

of traditional and contemporary premium archtops available today.

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Neck Pickup:

Bridge Pickup:

Finish:

Case:

Available Finishes:


Laminated Flame Maple

3 Piece Maple

Ebony

Bone

Ebony Compensated

2-3/32” Spacing

Wood

25”

Kent Armstrong HPAG-1N

N/A


Hardshell Case

Blue, Honeyburst

AR580CE-BLU

BLU AMB

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Neck Pickup:

Bridge Pickup:

Finish:

Case:

Available Finishes:



Mahogany

Ebony

Bone


2-3/32” Spacing

3-Ply Ivoroid

25”


N/A


Hardshell Case

Classic, Classic Sunburst

AR603CE-15

CL CS

21

Nicole AtkinsAtkins plays the Archtop AR405E

22 T H E A R C H T O P S E R I E S E A S T M A N G U I T A R S . C O M

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Neck Pickup:

Bridge Pickup:

Finish:

Case:

Available Finishes:


Hand Carved Maple

Maple

Ebony

Bone

Ebony Compensated

2-3/32” Spacing

7-Ply Ivoroid

25”


N/A


Hardshell Case

Classic, Sunburst

AR805CE-SB

CL SB

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Neck Pickup:

Bridge Pickup:

Finish:

Case:

Available Finishes:


Hand Carved Maple

Maple

Ebony

Bone

Ebony Compensated

2-3/32” Spacing

Figured Maple

25”


N/A


Hardshell Case


AR910CE-BD

CL SB BD

Noah GuthrieGuthrie plays the Thinline T184MX

and the Archtop AR503CE-SB

23

Robbie RobertsonRobertson plays the Archtop AR810CE

“I don’t know how they do it? Could be the smoothest fretting

ever and the tone is deep and timeless. What a beauty!”

24 T H E A R C H T O P S E R I E S E A S T M A N G U I T A R S . C O M

Cass McCombsMcCombs plays the Archtop AR372CE-SB

Mitchell Longguitarist for

Melody Gardot

Long plays the Archtop AR380CE-HB

25

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Neck Pickup:

Bridge Pickup:

Finish:

Case:

Available Finishes:


Hand Carved Mahogany

Mahogany

Ebony

Bone


2 3/32” Spacing

Multi-Ply Rosewood

25”

Kent Armstrong

Pisano Signature

N/A


Hardshell Case

Classic

AR680CE

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Neck Pickup:

Bridge Pickup:

Finish:

Case:

Available Finishes:

Flame Maple Laminate

Flame Maple Laminate

Mahogany

Rosewood

Graphite

Ebony

5-Ply Figured Maple

24.75”

Kent Armstrong

Pisano 1 Signature

Kent Armstron

Pisano 1 Signature


Hardshell Case

Honeyburst

AR380CE-HB

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Neck Pickup:

Bridge Pickup:

Finish:

Case:

Available Finishes:


Hand Carved Flame Maple

Maple

Ebony

Bone


2 3/32” Spacing

Multi-Ply Wood

25”

Kent Armstrong

Pisano Signature

N/A


Hardshell Case


AR880CE-SB

J O H N P I S A N O S I G N A T U R E S E R I E S

When one of the world’s greatest, most highly sought after stage and studio guitarists personally designs an instrument, it’s a big deal. And it was just that when jazz guitarist John Pisano developed the Signature Series from top to bottom, with all the performance and features he wanted in a guitar. As a contemporary

of jazz guitar icons, John has become an authority on tone. Whether in the studio or on the stage, these guitars represent everything we have come to associate with true jazz guitar sound.

HB CL CL SB BD

T H E

T R A D I T I O N A LS E R I E S

At Eastman we are very proud of our “old-world” handcrafted acoustic guitars. The Traditional Series is inspired by the great instruments of the Golden Age of guitar-building, when the work was done entirely by gifted craftspeople using simple hand

tools. Choose your body-style and tone wood and get ready to enjoy your heirloom-quality guitar.

This is an instrument that will stay in your family for generations.

26

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

Adirondack

Rosewood

Mahogany

Ebony

Bone

Ebony/ Bone

Abalone Top/

Herringbone Back

25.4”


Hardshell Case

Natural / Sunburst

E40D

DR

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

Adirondack

Rosewood

Mahogany

Ebony

Bone

Ebony/ Bone

Abalone Top/

Herringbone Back

24.9”


Hardshell Case

Natural / Sunburst

E40 OM

OM

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

Adirondack

Rosewood

Mahogany

Ebony

Bone

Ebony/ Bone

Herringbone

25.4”


Hardshell Case

Natural / Sunburst

E20D

DR

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

Adirondack

Rosewood

Mahogany

Ebony

Bone

Rosewood/ Bone

Herringbone

24.75”


Hardshell Case

Sunburst

E20SS

SS

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

Adirondack

Rosewood

Mahogany

Ebony

Bone

Ebony/ Bone

Herringbone

24.9”


Hardshell Case

Natural / Sunburst

E20 OM-SB

OM

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

Adirondack

Rosewood

Mahogany

Ebony

Bone

Ebony/ Bone

Herringbone

24.9”


Hardshell Case

Natural / Sunburst

E20P

P

27

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

Adirondack

Mahogany

Mahogany

Ebony

Bone

Ebony/ Bone

Black

24.9”


Hardshell Case

Natural / Sunburst

E10 OM

OM

28

Jackson Phillipsof the band

Day Wave

Phillips plays the Traditional E10P

T H E T R A D I T I O N A L S E R I E S E A S T M A N G U I T A R S . C O M

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

Adirondack

Mahogany

Mahogany

Ebony

Bone

Ebony/ Bone

Black

25.4”


Hardshell Case

Natural / Sunburst

E10D

DR

29

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

Adirondack

Mahogany

Mahogany

Rosewood

Bone

Rosewood/ Bone

Ivory

24.75”


Hardshell Case

Sunburst

E10SS

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

Adirondack

Mahogany

Mahogany

Rosewood

Bone

Rosewood/ Bone

Ivory

24.75”


Hardshell Case

Sunburst

E10 OOSS

OOSS

SS

Trey HensleyHensley plays the E10D-SB, T-386, and T-486B

GazCoombesWHO WERE SOME OF YOUR EARLIEST MUSICAL INFLUENCES?

Mainly Bowie, Beatles, Zappa....& The Muppets Band

HAS YOUR APPROACH TO SONGWRITING CHANGED FROM THE BEGINNING OF YOUR CAREER WITH SUPERGRASS TO NOW?

Very much so in terms of technique & approach. I love the freedom of starting an idea from any random point - a loop, a beat, even a few words. That’s very different to writing as a band. But I guess a melody can still come out of nowhere & that’s the same as it ever was.

WHO ARE SOME OF YOUR FAVORITE GUITAR PLAYERS?

I’ve always loved Neil Young. His approach to electric & acoustic is very different. Very wild on electric, but delicate & technical on acoustic. But, it’s his emotive feel & one note solos that always got me.

MATADOR FEELS LIKE THE SPIRITUAL SUCCESSOR TO ROAD TO ROUEN . WAS THAT RECORD ON YOUR MIND WHEN YOU WERE WRITING MATADOR?

I guess it was our most DIY record, so perhaps that’s one similarity.

DO YOU USE ANY ALTERNATE TUNINGS?

Yes, drop D tuning is a bit of a constant....but also the DADFAD tuning for “The Girl Who Fell To Earth” was a cool find.

WHAT DREW YOU TO EASTMAN GUITARS?

A friend of mine told me about them & I’m just always into trying new guitars....not always letting the ‘big boys’ dominate. And, I’m glad I did.

HOW WOULD YOU DESCRIBE THE SOUND OF YOUR EASTMAN GUITAR?

I’ve got a full sized dreadnought & a smaller parlor guitar too, both fitted with pickups. They’ve both got a great tone & feel. The parlor guitar is my favorite though. I use it live now quite a bit.

WHAT’S NEXT FOR YOU, MUSICALLY?

I’m writing & recording for my 3rd album. Early days, but already some really exciting ideas floating about.

WHAT’S YOUR FAVORITE SONG YOU’VE WRITTEN?

Tough one...it’s usually the most recent though...

WHERE’S THE BEST PLACE TO FIND UPDATES ON WHAT YOU’RE CURRENTLY UP TO?

Probably best to check out Twitter & FB, all the live shows are up there, amongst other lovely stuff.

Coombes plays the Travel ACTG1

FEATURED MUSICIAN

30 T H E T R A D I T I O N A L S E R I E S E A S T M A N G U I T A R S . C O M

Mahogany

Mahogany

Mahogany

Rosewood

Bone

Rosewood/ Bone

Ivory

24.9”


Hardshell Case

Natural

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

E10 OO-M

OO

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

Solid Sitka Spruce

Mahogany

Mahogany

Ebony

Bone

Ebony/ Bone

3-Ply Black/ White/ Black

24.9”


Hardshell Case

Natural

E6 OM

DR OM DR12

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

Solid Sitka Spruce

Rosewood

Mahogany

Ebony

Bone

Ebony/ Bone

Herringbone

25.4”


Hardshell Case

Natural

E8D

DR OM

31

T H E

A CS E R I E S

With the same care and craftsmanship that go into our Traditional Series guitars, Eastman’s AC Series offers a variety of honest acoustic voices and effortless playability with a more modern flair. Cutaway electrics with upper-fret access expand the acoustic player’s range and non-

traditional body styles such as Grand Concerts, and Grand Auditoriums demand an audience’s

attention. The AC Series guitars are designed and built with performance in mind — and perform is

exactly what they do.

32

Top:

Back/Sides:

Neck:

FIngerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Electronics:

Finish:

Case:

Solid Engleman Spruce

Solid Flame Maple

Mahogany

Ebony

Bone

Ebony/ Bone

Multi-Ply Figured Maple

25.4”

L.R. Baggs Element


Hardshell Case

AC630CE-12

J12

JCE

GACE

Top:

Back/Sides:

Neck:

FIngerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Electronics:

Finish:

Case:


Solid Flame Maple

Maple

Ebony

Bone

Ebony/ Bone


25.4”

N/A


Hardshell Case

AC630—BD

JCE

Top:

Back/Sides:

Neck:

FIngerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Electronics:

Finish:

Case:

Solid Sitka Spruce

(also available in sapele

on the AC-DR2)

Solid Sapele

Mahogany

Rosewood

Bone

Rosewood/ Bone

Tortoise Shell

25.4”

N/A

Open Pore

Padded Gig Bag

AC-DR1

DR

Top:

Back/Sides:

Neck:

FIngerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Electronics:

Finish:

Case:

Solid Sapele (also available

in spruce on the AC-OM1)

Solid Sapele

Mahogany

Rosewood

Bone

Rosewood/ Bone

Tortoise Shell

24.9”

N/A

Open Pore

Padded Gig Bag

AC-OM2

OM

Top:

Back/Sides:

Neck:

FIngerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Electronics:

Finish:

Case:

Solid Sapele (also available

in spruce on the AC-OM1)

Solid Sapele

Mahogany

Rosewood

Bone

Rosewood/ Bone

Tortoise Shell

25.4”

Fishman Sonitone

Open Pore

Padded Gig Bag

AC-GA2CE

GACE

33

Sapele Series Sapele Series Sapele Series

34 T H E A C S E R I E S E A S T M A N G U I T A R S . C O M

Top:

Back/Sides:

Neck:

FIngerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Electronics:

Finish:

Case:

Solid Sitka Spruce

Solid Rosewood

Mahogany

Ebony

Bone

Ebony/ Bone

Ivoroid

25.4”

Fishman Matrix VT


Hardshell Case

AC420CE-BA

DRCE

Top:

Back/Sides:

Neck:

FIngerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Electronics:

Finish:

Case:

Solid Sitka Spruce

Rosewood Laminate

Mahogany

Rosewood

Bone

Rosewood/ Bone

3-Ply Black/White/Black

25.4”

Fishman Sonitone

(on CE models only)

Open Pore

Padded Gig Bag

AC222CE

DR DRCE

GA GACE

Neal Casalof the band

Chris Robinson Brotherhood

Casal plays the T486-B-RD, E20OOSS

Top:

Back/Sides:

Neck:

FIngerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Electronics:

Finish:

Case:


Solid Rosewood

Mahogany

Ebony

Bone

Ebony/ Bone

5-Ply Rosewood

24.9”

L.R. Baggs Element


Hardshell Case

AC708CE

GCCE

GACE

Top:

Back/Sides:

Neck:

FIngerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Electronics:

Finish:

Case:


Solid Rosewood

Mahogany

Ebony

Bone

Ebony/ Bone


Bass Side 25.5” &

Treble Side 24.75” Fan Fret

L.R. Baggs Anthem


Hardshell Case

AC822CE-FF

GACE

GACE-FF

OMCE

GCCE

The Common Linnets

35

Ilse plays the AC630CE-12, E200OSS.

Jake plays the E10SS, E20OM-SB, MD315.

Matthew plays the T486B-SB, E20OOSS.

JB plays the MD514, MDC805,

AR372CE, E20OM-SB, T486.

T H E

C L A S S I C A LS E R I E S

Inspired by the work of legendary Spanish luthier Antonio de Torres Jurado, our classical guitars are built to meet the demands of today’s most serious players and students. Beyond skill-level, there’s also the matter of style — these instruments will inspire not just classical players, but Latin, afro-jazz, and folk musicians, as well.

Eastman classical guitars have been designed and crafted to provide power and balance, clarity and projection, and beautiful tone-color or timbre. Such are the attributes of these 12-fret specials, handcrafted with an eye — and ear — toward the great Torres, who in the 19th century changed lutherie forever by expanding the stringed instruments’ traditional body-size and, thus, its strength. With their carefully handcrafted soundboards and nylon strings, the classical models offer extraordinary range and emotional texture. Top-to-bottom excellence of this kind yields tremendous versatility — and, for the player, supreme possibility.

With Eastman’s commitment to detail and dedication to tradition, the delicate fan-brac-ing, precise 650 millimeter scale-length, and careful wood-shaping bestow each instru-ment with a distinct “voice.” Players will also get the guarantee that no Eastman guitar leaves the shop until it is closely inspected and carefully set-up by a seasoned luthier. A great-sounding instrument arrives at its absolute peak.

With everything taken care of, the dedicated “classical” instrumentalist is free to concentrate on just one thing: making beautiful music.

Top:

Back/Sides:

Neck:

FIngerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

AAA Tight grained Cedar

Indian Rosewood

Mahogany

Ebony

Bone

Rosewood/Bone

Rosewood, 4 Ply

Purfling Top

650 mm


Brown Vinyl

Traditional

CL81S

36

Top:

Back/Sides:

Neck:

FIngerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

AAA Tight grained

Spruce

Mahogany

Mahogany Ebony

Center Strip

Ebony

Bone

Rosewood/Bone

Rosewood, 4 Ply Purlfling

Top 2 Ply Back

650 mm


Brown Vinyl

Traditional

CL30S

Top:

Back/Sides:

Neck:

FIngerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

AAA Tight grained Cedar

Indian Rosewood

Mahogany

Rosewood

Bone

Rosewood/Bone

Rosewood, 2 Ply

Purfling Top

650 mm


Brown Vinyl

Traditional

CL20C

Top:

Back/Sides:

Neck:

FIngerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

AAA Tight grained Spruce

Indian Rosewood

Mahogany Ebony

Center Strip

Ebony

Bone

Rosewood/Bone

Rosewood, 4 Ply Purlfling

Top 2 Ply Back

650 mm


Brown Vinyl

Traditional

CL40S

37

T H E

M A N D O L I NF A M I L Y

Inspired by the first Golden Age of American lutherie in the early 20th century, Eastman’s mandolin family

has earned the respect and admiration of a whole new generation of bluegrass, folk, and Americana

musicians. The sheer attention to detail in our mandolins, mandolas, and mandocellos truly rivals

instruments that are three or four times more costly. From percussive “chop” to dynamic articulation and throaty harmonic support, Eastman has a mandolin

for every occasion.Top:

Back/Sides:

Neck:

FIngerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

Carved Solid Spruce

Carved Solid Mahogany

Maple

Ebony

Bone


Ivoroid

13 7/8”


Hardshell Case

Black / Gold

MD415-BK

FF

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

Carved Solid Spruce


Maple

Ebony

Bone


Ivoroid

13 7/8”


Hardshell Case

Black / Gold

MD415-GD

FF

38

Nels Clineof the band

Wilco

Cline plays the Mandolin MD515, Mandocello MDC804

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

Carved Solid Spruce Top

Carved Solid Maple

Maple

Ebony

Bone


Ivoroid

13 7/8”

Satin Lacquer

Padded Gig Bag

Classic

MD305

AO AF FF

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

Carved Solid Spruce


Maple

Ebony

Bone


Ivoroid

13 7/8”


Hardshell Case

Black

MD404-BK

AO

T H E M A N D O L I N F A M I L YE A S T M A N G U I T A R S . C O M

40

Ethan JohnsProducer and solo artist

Johns plays the E10P and MD-814

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

Carved Solid Spruce

Carved Flamed Maple

Maple

Ebony

Bone


Ivoroid

13 7/8”


Hardshell Case

Classic / Classic Sunburst

Carved Solid Spruce

Carved Flamed Maple

Maple

Ebony

Bone


Ivoroid

13 7/8”


Hardshell Case

Classic / Classic Sunburst

MD505 MD514-CS

AO AOFO FOAF AFFF FF

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Electronics:

Finish:

Case:

Available Finishes:

Carved Solid Spruce

Carved Flamed Maple

Maple

Ebony

Bone


Ivoroid

13 7/8”

K&K Mandoline Twin


Hardshell Case

Classic / Sunburst

MD615

41

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Electronics:

Finish:

Case:

Available Finishes:

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

Solid Adirondack

Carved Flamed Maple

Maple

Ebony

Bone


Ivoroid

13 7/8”

K&K Mandolin Twin


Hardshell Case

Classic

Solid Adirondack

Carved Flamed Maple

Maple

Ebony

Bone


Maple

13 7/8”

Antique Varnish

Hardshell Case

Clasic / Sunburst

MD815PGE-HB

MD905

AF

AF

FF

FF

42

Frank Solivanof the band

Frank Solivan & Dirty Kitchen

Solivan plays the MD515

T H E M A N D O L I N F A M I L YE A S T M A N G U I T A R S . C O M

43

The Eastman String Band

Tim Finch knows his bluegrass. He knows the sound and the songbook, the lore and the legends. His appreciation for the music, in fact, is what keeps pushing him for something a little different — namely, for something of his own.

Officially, his band is called Tim and Savannah Finch with The Eastman String Band. Based outside Annapolis, MD, they formed just under a decade ago, with the goal of forging fresh territory on an “Alt’grass Americana” frontier. It also meant writing and performing original songs — which, as he put it, was something of a “gamble.” After all, live bluegrass audiences frequently expect — even demand — to hear the standards.

The result of Finch and his band mates’ focused musical exploration is two all-original albums, with a third in the works, driven by wife and lead singer Savannah’s “very personal” lyrics, which grapple with life and death, family and relationships. He’s proud of their growing catalogue, prouder still that this music comes from within. “I love the traditional songs,” he says, “but I’m passionate about exploring original material and new arrangements.”

Finch is hardly a product of Appalachia. He grew up in the ‘70s in a suburb outside of Washington, D.C., in a time and place surging with the energy of a neo-bluegrass movement. Inspired by the likes of Earl Scruggs and The Nitty Gritty Dirt Band, he picked up the

banjo as a teenager and never stopped playing. His passion led him first to form a group with his brothers, then on to gigs at major venues with The Good Deale Bluegrass Band that included Jon Glik on fiddle, Mike Munford on banjo, and the legendary Mike Auldridge on resonator guitar.

Along the way, he met his wife Savannah who walked into a music store he was just opening. The two found instant musical common ground, playing together at the Friday night jams that Tim held at his store. Eventually the fuller band emerged with both at the front where they began performing at various private events, major venues, and festivals.

And as for his choice of the band’s name? He reaches out beyond his own creative efforts. Finch works as a sales rep for Eastman — a job that keeps him on the road, and in contact with other musicians, constantly. He’d named his first band after his music shop “Good Deale Bluegrass,” and so when it came time to find a name for his new configuration, as he puts it: “I figured, I’d stick with the same formula and name it after where I work.”

Indeed, his own form of tradition is something that the irrepressible Finch can very much get behind.

www.eastmanstringband.com

Getting personal

FEATURED MUSICIAN

Band from left to right:Savannah Finch, Tim Finch, Jon Glik, Stefan Custodi

44 E A S T M A N G U I T A R S . C O M

Bluegrass and Americana

The origin of these uniquely American music genres can be traced to colonial and nineteenth century settlers from England, Scotland and Ireland. Along the Appalachian range, these folk traditions continued to evolve and by the 1930’s when Bill Monroe and his “Blue Grass Boys” hit the scene, a new American art form was created. Bluegrass continued to mature into various sub-genres such as “new-grass” and “alt-grass” and by the 1990’s a new radio format known as Americana was born drawing on bluegrass roots but also adopting influences from folk, blues, jazz and rock.

We at Eastman honor the legacy, tradition and the new musical ethos by offering the best instruments we can to the new breed of roots music devotees.

Steeped in this tradition and mindful of the needs of today’s players, we handcraft our instruments to play smoothly and powerfully and to sit right where you need them in the mix. Our guitars feature luscious bottom end to drive the rhythm and create a supportive counterpoint to vocal arrangements.

While preserving all the complex harmonic overtones of the iconic vintage instruments of the 1930’s and 40’s, Eastman guitars are also painstakingly voiced to provide a modern clarity that makes a dynamic impact on your music. Our coveted mandolins have rightfully earned a great reputation and following because they deliver a “killer chop” with a rich woody tone and a clear treble “cut” that allows the player to attack as hard as they desire, or focus on soft nuanced subtleties. And Eastman’s faithful re-creation of the 1903 Fairbanks Whyte Laydie II is the very definition of turn-of-the-century banjo tone.

The heart of America honored

MUSIC CULTURE

The ChapmansJeremy plays the MD815/v, MDA815

John plays the E6D, E10D, AR905CE

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

Carved Solid Spruce

Carved Flamed Maple

Maple

Ebony

Bone


Ivoroid

15 7/8”


Hardshell Case

Clasic, Sunburst

MDA815-SB

FF

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Available Finishes:

Carved Solid Spruce

Carved Flamed Maple

Maple

Ebony

Bone


Ivoroid

25”


Hardshell Case

Classic, Sunburst

MDC804

O F

Ronnie McCouryof the band

The Travelin McCourys

McCoury plays the MD515, MDC805

45

Top:

Back/Sides:

Neck:

Fingerboard:

Nut:

Bridge/Saddle:

Binding:

Scale Length:

Finish:

Case:

Solid Mahogany

Solid Mahogany

Mahogany

Rosewood

Bone

Rosewood Anchor Style

Rosewood

14 5/8”


Hardshell Case

EU3C

S C T

Top:

Back/Sides:

Rim:

Scale Length:

Nut Width:

Bridge/Saddle:

Consumate Frailing

Made to pre Vega Specs

10 3/4”

26”

1 5/16”

Substantial feeling early

banjo neck

EBJ-WL1

ANTIQUE VARNISH SERIES

TRADITIONAL SERIES – (E) Acoustic Electr ic Model

Model

T49/VT58/VT59/VSB59/VSB59E10OOSS/VE10SS/VMD815/VMD814/V-BKMD805/V

E6OM (E)E6D (E)E6D-12 (E)E8OM (E)E8D (E)E10D (E)E10DL (E)E10SS (E)E10OM (E)E10OO (E)E10OO-ME10OOSSE10P (E)E20OM (E)E2OOMCEE20D (E)E20P (E)E20SS (E)E20OO (E)E20OOSSE40D (E)E40-OM (E)

Finish

Classic/AmberClassic/AmberClassic/AmberClassic/AmberSunburst/GoldburstClassicClassicClassicBlackClassic

NaturalNaturalNaturalNaturalNaturalNatural/SunburstNaturalSunburstNatural/SunburstNaturalNaturalSunburstNatural/SunburstNatural/SunburstNaturalNatural/SunburstNatural/SunburstSunburstNaturalSunburstNatural/SunburstNatural/Sunburst

Top

Laminate MapleCarved SpruceDeluxe LaminateMapleMapleAdirondack SpruceAdirondack SpruceAdirondack SpruceAdirondack SpruceAdirondack Spruce

Sitka SpruceSitka SpruceSitka SpruceSitka SpruceSitka SpruceAdirondack SpruceAdirondack SpruceAdirondack SpruceAdirondack SpruceAdirondack SpruceMahoganyAdirondack SpruceAdirondack SpruceAdirondack SpruceAdirondack SpruceAdirondack SpruceAdirondack SpruceAdirondack SpruceAdirondack SpruceAdirondack SpruceAdirondack SpruceAdirondack Spruce

Back/Sides

Laminate MapleLaminated Flame MapleDeluxe LaminateMahoganyMahoganyMahoganyMahoganyFlamed MapleFlamed MapleFlamed Maple

MahoganyMahoganyMahoganyRosewoodRosewoodMahoganyMahoganyMahoganyMahoganyMahoganyMahoganyMahoganyMahoganyRosewoodRosewoodRosewoodRosewoodRosewoodRosewoodRosewoodRosewoodRosewood

Body Style

16” Florentine Cutaway16” Venetian Cutaway16” Double cutaway w/full blockSingle Cut Solid BodySingle Cut Solid BodyOOSSSSF-Style With F-Holes W/Antique VarnishF-Style With Oval Holes W/Antique VarnishA-Style With F-Holes

Orchestra ModelDreadnoughtDreadnoughtOrchestra ModelDreadnoughtDreadnoughtDreadnoughtSlope ShoulderOrchestra ModelOOOOOOSSParlorOrchestra ModelOrchestra ModelDreadnoughtParlorSlope ShoulderOOOOSSDreadnoughtOrchestra Model

46 E A S T M A N G U I T A R S . C O M

2017 PRODUCTION MODELS (US & CANADA)


47

ARCHTOP SERIES

EL REY SERIES

PAGELLI SIGNATURE SERIES

THINLINE SERIES

MANDOLIN FAMILY

Model

AR371CEAR372CEAR403CEAR405EAR503CEAR580CEAR603CE-15AR605CEAR610AR610CEAR803CE-16AR805CEAR805LCEAR810CEAR810CE-7AR905CEAR910CEAR380CE-HBAR680CEAR880CEFV680CE-SB

ER1ER2ER3ER4

PG1PG2

T184MXT184MX-LST185MXT186MXT146SMT386T486T486BT486-RB (Ray Benson)

MD304MD305MD315MD404-BKMD415MD504MD505MD514MD515MD515LMD604MD605MD614MD615MD805MD805PGEMD814MD814-BDMD815MD815PGEMD905MD915MDA815MDC804MDC805MDB102-RSMDB102-MS

Finish

Classic/Blonde/SunburstClassic/Blonde/SunburstClassic/SunburstClassic/SunburstClassic/SunburstBlue/HoneyburstClassic/Classic SunburstClassic/Classic SunburstClassic/Classic SunburstClassic/Classic SunburstClassic/SunburstClassic/SunburstClassic/SunburstClassic/SunburstClassic/SunburstClassic/Sunburst/BlondeClassic/Sunburst/BlondeHoneyburstClassicClassic/Sunburst/BlondeSunburst

Classic/Classic SunburstClassic/SunburstClassic/Classic SunburstClassic/Sunburst

ClassicBlonde

Classic/Classic Sunburst/ BlondeBlackClassic/Classic Sunburst/ BlondeClassic/Classic Sunburst/ BlondeClassic/SunburstClassic/Red/SunburstClassic/Red/Sunburst/BlackClassic/Red/Sunburst/BlackRed

ClassicClassicClassicBlackBlack/GoldClassic/Classic SunburstClassic/Classic SunburstClassic/Classic SunburstClassic/Classic SunburstclassicClassic/SunburstClassic/SunburstClassic/SunburstClassic/SunburstClassic/SunburstBlue/HoneyburstClassic/ SunbrstBlondeClassic/SunburstBlue/HoneyburstClassic/SunburstClassic/SunburstClassic/SunburstClassic/SunburstClassic/SunburstNaturalNatural

Top

Laminated MapleLaminated MapleLaminated MapleLaminated MapleSpruceSpruceSpruceSpruceSpruceSpruceSpruceSpruceSpruceSpruceSpruceSpruceSpruceLaminated MapleSpruceSpruceAAA Tight Grained Spruce

SpruceSpruceMapleSpruce

SpruceSpruce

MapleMapleMapleMapleSpruceLaminated MapleDeluxe LaminateDeluxe LaminateDeluxe Laminate

SpruceSpruceSpruceSpruceSpruceSpruceSpruceSpruceSpruceSpruceSpruceSpruceSpruceSpruceAdirondack SpruceAdirondack SpruceAdirondack SpruceAdirondack SpruceAdirondack SpruceAdirondack SpruceAdirondack spruceAdirondack spruceSpruceSpruceSpruceSpruceSpruce

Back/Sides

Laminated MapleLaminated MapleLaminated MapleLaminated MapleLaminated MapleLaminated MapleMahoganyMahoganyMahoganyMahoganyMapleMapleMapleMapleMapleMapleMapleLaminated MapleMahoganyMapleHighly Figured Mahogany

MahoganyMapleMahoganyMahogany

MapleMaple

MahoganyMahoganyMahoganyMahoganyMapleLaminated MapleDeluxe LaminateDeluxe LaminateDeluxe Laminate

MapleMapleMapleMahoganyMahoganyMapleMapleMapleMapleMapleMapleMapleMapleMapleFlamed MapleFlamed MapleFlamed MapleFlamed MapleFlamed MapleFlamed MapleSugar mapleSugar mapleMapleMapleMapleAlternating Rosewood stavesAlternating Maple staves

Body Style

16” Florentine cutaway16” Florentine cutaway16” Venetian cutawayNon cutaway16” Venetian cutaway16” Venetian cutaway15” Venetian Cutaway16” Venetian cutaway17” Non cutaway17” Venetian cutaway16” Venetian cutaway16” Venetian cutaway16” Venetian cutaway/ Left handed17” Venetian cutaway17” Venetian cutaway 7-string16” Venetian cutaway/maple binding17” Venetian cutaway/maple binding16” Florentine cutaway16” Venetian cutaway16” Venetian cutawayThorel/Vignola Designed Custom Jazz

14” Neck block cutaway14” Neck block cutaway14” Neck block cutaway16” El Rey Model

17” Asymmetrical design17” Asymmetrical design

14” double cutaway14” double cutaway15” double cutaway16” double cutaway16” single cutaway16” Double cutaway w/full block16” Double cutaway w/full block16” Double cutaway w/full block16” Double cutaway w/full block

A-Style With Oval HoleA-Style With F-HolesF-Style With F-HolesA-Style With Oval Hole - Black TopF-Style With F-HolesA-Style With Oval HoleA-Style With F-HolesF-Style With Oval HoleF-Style With F-HolesF-Style With F-Holes left handedA-Style With Oval HoleA-Style With F HoleF-Style With Oval HoleF-Style With F-HolesA-Style With F-HolesA-Style With F-Holes w/ elecF-Style With Oval HoleF-Style With Oval HoleF-Style With F-HolesF-Style With F-Holes w/ elecA-Style With F-Holes W/Oil Varnish FinishF-Style With F-Holes W/Oil Varnish FinishF-Style With F-Holes MandolaOval MandocelloF Hole MandocelloNeopolitan Bowl Back MandolinNeopolitan Bowl Back Mandolin


48

TRAVEL

PCH

AC SERIES

ACTG1ACTG2E

Page 3 — ShopShane Deuel

Page 6 — ShopJulien Creff

Page 10 — Jon HeringtonJon Gorr

Page 11 — David VanderveldeJames Hill

Page 13 — Craig BartockMonica Cole

Page 15 — ShopJim Sullivan

Page 19 — Frank VignolaTrueFire.com

Page 21 — Nicole AtkinsRyan McHugh

Page 22 — Noah GuthrieRhett Shull

Page 24 — Mitchell LongBob Barry

Page 24 — Cass McCombsRachel Pony Cassells

Page 28 — Jackson PhillipsPooneh Ghana

Page 29 — Trey HensleyTrey Hensley

Page 30 — Gaz CoombesRankin

Page 34 — Neal CasalMegan McIsaac

Page 35 — The Common LinnetsPaul Bellaart

Page 39 — Nels ClineZoran Orlic

Page 40 — Ethan JohnsJennifer Tipoulow

Page 42 — Frank SolivanSaulo Zayas

Page 43 — The Eastman String BandSteve Barrett

Page 45 — Ronnie McCourySaulo Zayas

PCH1-DPCH1-OMPCH1-GACE

AC-OM1AC-OM2AC-DR1AC-DR2AC-GA1CEAC-GA2CEAC120AC120CEAC122AC122CEAC220AC220CEAC222AC222CEAC320AC320CEAC320LCEAC322AC322CEAC420AC420CEAC422AC422CEAC420CE-BAAC508CEAC522CEAC622CEAC630CEAC630-BDAC630CE-12AC708CEAC722CEAC808CEAC812CEAC820CEAC822CEAC822CE-FF

NaturalNatural

NaturalNaturalNatural

NaturalNaturalNaturalNaturalNaturalNaturalNaturalNaturalNaturalNaturalNaturalNaturalNaturalNaturalNaturalNaturalNaturalNaturalNaturalNaturalNaturalNaturalNaturalNaturalNaturalNaturalNaturalNaturalBlondeNaturalNaturalNaturalNaturalNaturalNaturalNaturalNatural

Sitka SpruceSolid Sapele

Solid Sitka SpruceSolid Sitka SpruceSolid Sitka Spruce

Sitka SpruceSapeleSitka SpruceSapeleSitka SpruceSapeleSitka SpruceSitka SpruceSitka SpruceSitka SpruceSitka SpruceSitka SpruceSitka SpruceSitka SpruceSitka SpruceSitka SpruceSitka SpruceSitka SpruceSitka SpruceSitka SpruceSitka SpruceSitka SpruceSitka SpruceSitka SpruceEngelmann SpruceEngelmann SpruceEngelmann SpruceEngelmann SpruceEngelmann SpruceEngelmann SpruceEngelmann SpruceEngelmann SpruceEuropean SpruceEuropean SpruceEuropean SpruceEuropean SpruceEuropean Spruce

Laminated SapeleSolid Sapele

Mahogany LaminateMahogany LaminateMahogany Laminate

SapeleSapeleSapeleSapeleSapeleSapeleLaminated SapeleLaminated SapeleLaminated SapeleLaminated SapeleLaminated RosewoodLaminated RosewoodLaminated RosewoodLaminated RosewoodSapeleSapeleSapeleSapeleSapeleRosewoodRosewoodRosewoodRosewoodRosewoodMahoganyMahoganyMapleMapleMapleMapleRosewoodRosewoodIndian RosewoodIndian RosewoodIndian RosewoodIndian RosewoodIndian Rosewood

TravelTravel with Fishman Pickup

DreadnoughtOrchestra ModelGrand Auditorium w/ Ctwy Elc

Orchestra ModelOrchestra ModelDreadnoughtDreadnoughtGrand Auditorium w/ Ctwy ElcGrand Auditorium w/ Ctwy ElcDreadnoughtDreadnought w/ Ctwy ElecGrand AuditoriumGrand Auditorium w/ Ctwy ElecDreadnoughtDreadnought w/ Ctwy ElecGrand AuditoriumGrand Auditorium w/ Ctwy ElecDreadnoughtDreadnought w/ Ctwy ElecDreadnought w/ Ctwy Elec Left HandedGrand AuditoriumGrand Auditorium w/Ctwy ElecDreadnoughtDreadnought w/ Ctwy ElecGrand AuditoriumGrand Auditorium w/Ctwy ElecDreadnoughtGrand Concert w/Slotted HeadstockGrand Auditorium w/ Ctwy ElecGrand Auditorium w/ Ctwy ElecJumbo w/ Ctwy ElecFull bodied JumboJumbo 12 String w/ Ctwy ElecGrand Concert w/Ctwy ElecGrand Auditorium w/Ctwy ElecGrand Concert w/Ctwy ElecOM w/Ctwy ElecDreadnought w/Ctwy ElecGrand Auditorium w/Ctwy ElecFanned Fret Grand Auditorium w/Cutaway Elec

Model Finish Top Back/Sides Body Style

CLASSICAL

UKULELE

BANJO

CL10sCL20CCL30SCL40SCL81SCL82S

EU3SEU3CEU3T

EBJ-WL1

TraditionalTraditionalTraditionalTraditionalTraditionalTraditional

ClassicClassicClassic

Open Back Banjo, Maple neck, Ebony fingerboard, chrome hardware, Gotoh tuners

AAA Tight grained SpruceAAA Tight grained CedarAAA Tight grained SpruceAAA Tight grained SpruceAAA Tight grained SpruceAAA Tight grained Spruce

Figured MahoganyFigured MahoganyFigured Mahogany

Laminated MahoganyIndian RosewoodMahoganyIndian RosewoodIndian RosewoodIndian Rosewood

Figured MahoganyFigured MahoganyFigured Mahogany

Traditional Concert SpecificationsTraditional Concert SpecificationsTraditional Concert SpecificationsTraditional Concert SpecificationsTraditional Concert SpecificationsTraditional Concert Specifications

Soprano Size UkuleleConcert Size UkuleleTenor Size Ukulele

PHOTO CREDITS

2158 Pomona Blvd, Pomona, CA 91768800.789.2216

eastmanguitars.com

GUITARS & MANDOLINS - Musicsale

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Transcript of GUITARS & MANDOLINS - Musicsale