musguit
2005-03-26 02:15:35 UTC
EASTMAN UPTOWN PROFESSIONAL
By Barry Cleveland [March 2005]
AR810CE and the AR805CE. When I played an Eastman jazz guitar at a
trade show a little over a year ago I was very impressed-but when I
was informed of the price, I nearly fell off my chair. How could anyone
offer a hand-built instrument of such quality, with a carved top, at a
street price of less than two grand? Needless to say, when the two
review guitars arrived I was extremely eager to confirm or dispel my
initial impressions, and I was far from disappointed.
Eastman Strings is a Chinese manufacturer renowned for building
violins, cellos, and other acoustic stringed instruments in the "old
world" style. In other words, the shop utilizes no machines other
than a band saw for rough cuts, and a special saw for cutting scrolled
tops. Every other task is done by hand. Eastman began constructing
archtop guitars in late 2001, building on Bob Benedetto's classic
designs-which isn't surprising given that the Chinese luthiers'
introduction to guitar crafting was via Benedetto's instructional
manual and video.
Eastman archtop models are available in either the 800 Professional or
900 Luxury Series (and there's also a signature John Pisano model).
The 900 Series guitars sport higher-grade tone woods, wooden binding,
Schaller tuners with ebony buttons, and other refinements-but
essentially they conform to the same specifications as their more
modest counterparts reviewed here. Both levels of guitars are available
in either spirit varnish or lacquer finishes, with a choice of colors.
Both review guitars are "CE" models, indicating that they have
cutaways and are equipped with electric pickups. Each features solid
flamed-maple back and sides, a three-piece maple neck, and an aged
solid spruce top. Seven-layer celluloid binding graces the top and
back, five-layer binding is employed on the fretboard, headstock, and
along the bottom joint, and three-layer binding is used on the heel and
pickguard. The pickguard, tailpiece, truss-rod cover, and headstock all
have ebony facings. The carved bridge, which is curved slightly to
provide compensation, is also constructed of ebony. Gold hardware is
used throughout, including "stair-step" Jinko tuners, the metal
portions of the tailpiece, and the strap endpin, which also houses the
output jack. (Note: there is no second strap button.) Both instruments
have a floating Kent Armstrong mini-humbucking pickup, and a simple
volume "wheel" located underneath the pickguard is the only
control.
The guitars come with classy-looking fiberglass cases based on
Eastman's cello case design. While the cases are sturdy enough, and
can be fitted with included straps for convenient backpack-style
carrying, they scuff relatively easily and lack the ever-useful
accessory compartments.
AR810CE
The AR810CE's construction is remarkable throughout aside from a few
imperfections here and there. The generally excellent binding work
shows tiny rough spots and evidence of finish bleed in a few places,
and there's some discoloration on the fretboard where the glue has
seeped in from below the frets. The nut is also a bit rough looking,
with overt file marks and other irregularities, and there's a ragged
file mark near the low E string on the bridge (as well as the number
"19" mysteriously drawn in pencil). That said, the wood used
throughout is absolutely gorgeous and beautifully matched, and the
classic sunburst lacquer finish adds just the right measure of
elegance.
The first thing I noticed while playing the AR810CE was how inviting it
felt. The frets are nicely positioned and polished, which, combined
with the rounded neck profile and smooth binding, flat heel, and
ultra-accommodating setup, made for a super-seductive playing
experience. Playing a few chords, it also became apparent that the
instrument's construction endowed it with above-average acoustic
volume and projection, while retaining balance across all notes in all
positions, with no annoying dead spots. A quick check with a strobe
tuner confirmed that the intonation was as consistent as the volume.
Plugged into a Rivera Chubster 55 and a JBL-equipped '70s Fender Twin
Reverb, the AR810CE's amplified sound delivered all of the tone that
you'd expect after hearing it acoustically. By rolling the volume
back to slightly over half way, with the tone controls on the amps set
flat, I was able to get the sort of classic fatback jazz guitar sound
associated with instruments costing many times more. Experimenting with
the guitar's volume control and the amp's tone settings produced
enough cool variations to satisfy even the most demanding jazzbo
(though if you are seeking gnarly Steve Howe ES-175 tones look
elsewhere, as the AR810CE did not respond well to the Rivera's
overdrive). Feedback was an issue, as it always is with these sorts of
instruments, though I was able to turn the amps up relatively loud
before the howling ensued.
AR805CE
The AR805CE is very similar to the AR810CE, though players used to
less-than-full-sized guitars may find its 16" body width more
accommodating than that of its 17" sibling. The AR805CE also has a more
angular cutaway, and this particular example sports an Antique Red
finish, which dramatically highlights the instrument's extraordinary
flame patterns. Other than those structural and cosmetic differences
the two guitars' appointments are nearly identical, and,
significantly, the nut, bridge, and binding irregularities noted above
were almost entirely absent on the AR805CE, suggesting that they are
anomalies, or possibly evidence of inconsistent manufacturing
standards.
Tone-wise, the AR805CE has a slightly brassier acoustic sound and a
somewhat less beefy electric sound than the larger AR810CE, but
otherwise they sound a lot alike. Playability and intonation are also
almost identical, though the AR805CE's second string goes a tad sharp
at the 13th and 14th frets.
Jazzed Up
It should be obvious to anyone reading this review that a new day has
dawned on the world of carved-top jazz guitars. Despite whatever minor
cosmetic flaws may dog some Eastman guitars, the fact remains that
these instruments look, play, and sound more or less like guitars
costing up to ten times as much, and that is no doubt leading to more
than a few high-end manufacturers casting wary glances over their
shoulders. Whatever the outcome of that soul searching may be, one
thing is for sure: If you have longed for a professional quality
carved-top jazz guitar, but lamented the prohibitive prices, your day
is finally here.
Instant Gratification
Eastman Uptown Professional AR810CE
who's it for?
Anyone desiring a carved-top jazzbox on a plywood-top budget.
kudos?
Extraordinary value. Plays beautifully. Near-perfect intonation.
Wonderful sound. Gorgeous materials.
concerns
Very slight imperfections in binding and finish.
price
$2,495 retail
$1,996 street
CONTACT
Eastman Strings, (800) 624-0270)Eastmanstrings.com
specs
· 111/16" nut width
· 25"-scale 3-ply
maple neck with
ebony fretboard
· "X" bracing
· 17" body width
· Solid maple back
and sides with solid spruce top
· Ebony tailpiece,
trussrod cover, and headstock facing
· Carved ebony compensated bridge
· Floating Kent Armstrong mini-humbucking pickup
· Recessed Volume wheel
· 5.78 lbs
Instant Gratification
Eastman Uptown Professional AR805CE
who's it for?
Anyone desiring a carved-top jazzbox on a plywood-top budget.
kudos
Extraordinary value. Plays beautifully. Excellent intonation. Wonderful
sound. Gorgeous materials.
concerns
Slightly inaccurate intonation on two notes.
price
$2,395 retail
$1,916 street
CONTACT
Eastman Strings, (800) 624-0270)eastmanstrings.com
specs
· 111/16" nut width
· 25"-scale 3-ply maple neck with ebony fretboard
· 16" body width
· "X" bracing
· Solid maple back
and sides with solid spruce top
· Ebony tailpiece,
trussrod cover, and
headstock facing
· Carved ebony compensated bridge
· Floating Kent Armstrong mini-humbucking pickup
· Recessed Volume wheel
· 5.36 lbs
By Barry Cleveland [March 2005]
AR810CE and the AR805CE. When I played an Eastman jazz guitar at a
trade show a little over a year ago I was very impressed-but when I
was informed of the price, I nearly fell off my chair. How could anyone
offer a hand-built instrument of such quality, with a carved top, at a
street price of less than two grand? Needless to say, when the two
review guitars arrived I was extremely eager to confirm or dispel my
initial impressions, and I was far from disappointed.
Eastman Strings is a Chinese manufacturer renowned for building
violins, cellos, and other acoustic stringed instruments in the "old
world" style. In other words, the shop utilizes no machines other
than a band saw for rough cuts, and a special saw for cutting scrolled
tops. Every other task is done by hand. Eastman began constructing
archtop guitars in late 2001, building on Bob Benedetto's classic
designs-which isn't surprising given that the Chinese luthiers'
introduction to guitar crafting was via Benedetto's instructional
manual and video.
Eastman archtop models are available in either the 800 Professional or
900 Luxury Series (and there's also a signature John Pisano model).
The 900 Series guitars sport higher-grade tone woods, wooden binding,
Schaller tuners with ebony buttons, and other refinements-but
essentially they conform to the same specifications as their more
modest counterparts reviewed here. Both levels of guitars are available
in either spirit varnish or lacquer finishes, with a choice of colors.
Both review guitars are "CE" models, indicating that they have
cutaways and are equipped with electric pickups. Each features solid
flamed-maple back and sides, a three-piece maple neck, and an aged
solid spruce top. Seven-layer celluloid binding graces the top and
back, five-layer binding is employed on the fretboard, headstock, and
along the bottom joint, and three-layer binding is used on the heel and
pickguard. The pickguard, tailpiece, truss-rod cover, and headstock all
have ebony facings. The carved bridge, which is curved slightly to
provide compensation, is also constructed of ebony. Gold hardware is
used throughout, including "stair-step" Jinko tuners, the metal
portions of the tailpiece, and the strap endpin, which also houses the
output jack. (Note: there is no second strap button.) Both instruments
have a floating Kent Armstrong mini-humbucking pickup, and a simple
volume "wheel" located underneath the pickguard is the only
control.
The guitars come with classy-looking fiberglass cases based on
Eastman's cello case design. While the cases are sturdy enough, and
can be fitted with included straps for convenient backpack-style
carrying, they scuff relatively easily and lack the ever-useful
accessory compartments.
AR810CE
The AR810CE's construction is remarkable throughout aside from a few
imperfections here and there. The generally excellent binding work
shows tiny rough spots and evidence of finish bleed in a few places,
and there's some discoloration on the fretboard where the glue has
seeped in from below the frets. The nut is also a bit rough looking,
with overt file marks and other irregularities, and there's a ragged
file mark near the low E string on the bridge (as well as the number
"19" mysteriously drawn in pencil). That said, the wood used
throughout is absolutely gorgeous and beautifully matched, and the
classic sunburst lacquer finish adds just the right measure of
elegance.
The first thing I noticed while playing the AR810CE was how inviting it
felt. The frets are nicely positioned and polished, which, combined
with the rounded neck profile and smooth binding, flat heel, and
ultra-accommodating setup, made for a super-seductive playing
experience. Playing a few chords, it also became apparent that the
instrument's construction endowed it with above-average acoustic
volume and projection, while retaining balance across all notes in all
positions, with no annoying dead spots. A quick check with a strobe
tuner confirmed that the intonation was as consistent as the volume.
Plugged into a Rivera Chubster 55 and a JBL-equipped '70s Fender Twin
Reverb, the AR810CE's amplified sound delivered all of the tone that
you'd expect after hearing it acoustically. By rolling the volume
back to slightly over half way, with the tone controls on the amps set
flat, I was able to get the sort of classic fatback jazz guitar sound
associated with instruments costing many times more. Experimenting with
the guitar's volume control and the amp's tone settings produced
enough cool variations to satisfy even the most demanding jazzbo
(though if you are seeking gnarly Steve Howe ES-175 tones look
elsewhere, as the AR810CE did not respond well to the Rivera's
overdrive). Feedback was an issue, as it always is with these sorts of
instruments, though I was able to turn the amps up relatively loud
before the howling ensued.
AR805CE
The AR805CE is very similar to the AR810CE, though players used to
less-than-full-sized guitars may find its 16" body width more
accommodating than that of its 17" sibling. The AR805CE also has a more
angular cutaway, and this particular example sports an Antique Red
finish, which dramatically highlights the instrument's extraordinary
flame patterns. Other than those structural and cosmetic differences
the two guitars' appointments are nearly identical, and,
significantly, the nut, bridge, and binding irregularities noted above
were almost entirely absent on the AR805CE, suggesting that they are
anomalies, or possibly evidence of inconsistent manufacturing
standards.
Tone-wise, the AR805CE has a slightly brassier acoustic sound and a
somewhat less beefy electric sound than the larger AR810CE, but
otherwise they sound a lot alike. Playability and intonation are also
almost identical, though the AR805CE's second string goes a tad sharp
at the 13th and 14th frets.
Jazzed Up
It should be obvious to anyone reading this review that a new day has
dawned on the world of carved-top jazz guitars. Despite whatever minor
cosmetic flaws may dog some Eastman guitars, the fact remains that
these instruments look, play, and sound more or less like guitars
costing up to ten times as much, and that is no doubt leading to more
than a few high-end manufacturers casting wary glances over their
shoulders. Whatever the outcome of that soul searching may be, one
thing is for sure: If you have longed for a professional quality
carved-top jazz guitar, but lamented the prohibitive prices, your day
is finally here.
Instant Gratification
Eastman Uptown Professional AR810CE
who's it for?
Anyone desiring a carved-top jazzbox on a plywood-top budget.
kudos?
Extraordinary value. Plays beautifully. Near-perfect intonation.
Wonderful sound. Gorgeous materials.
concerns
Very slight imperfections in binding and finish.
price
$2,495 retail
$1,996 street
CONTACT
Eastman Strings, (800) 624-0270)Eastmanstrings.com
specs
· 111/16" nut width
· 25"-scale 3-ply
maple neck with
ebony fretboard
· "X" bracing
· 17" body width
· Solid maple back
and sides with solid spruce top
· Ebony tailpiece,
trussrod cover, and headstock facing
· Carved ebony compensated bridge
· Floating Kent Armstrong mini-humbucking pickup
· Recessed Volume wheel
· 5.78 lbs
Instant Gratification
Eastman Uptown Professional AR805CE
who's it for?
Anyone desiring a carved-top jazzbox on a plywood-top budget.
kudos
Extraordinary value. Plays beautifully. Excellent intonation. Wonderful
sound. Gorgeous materials.
concerns
Slightly inaccurate intonation on two notes.
price
$2,395 retail
$1,916 street
CONTACT
Eastman Strings, (800) 624-0270)eastmanstrings.com
specs
· 111/16" nut width
· 25"-scale 3-ply maple neck with ebony fretboard
· 16" body width
· "X" bracing
· Solid maple back
and sides with solid spruce top
· Ebony tailpiece,
trussrod cover, and
headstock facing
· Carved ebony compensated bridge
· Floating Kent Armstrong mini-humbucking pickup
· Recessed Volume wheel
· 5.36 lbs