Our company still thinks inside the box. When it comes to building a guitar, there is a big difference between assembly and artistry. If history has taught us anything, it is that there is no substitute for skilled craftsmanship. At Eastman Guitars, each instrument is given the attention to detail required to ensure that it reaches its maximum
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potential. Features such as handscalloped bracing and precision tap tuning are just two examples of the way we differentiate ourselves from our competitors. Considering the outward beauty of an Eastman Guitar, it’s often easy to overlook the skill and artistry applied to
the inside of such a fine instrument. Then again, one strum will change all that.
Handcrafted Guitars & Mandolins www.EastmanGuitars.eu
“While modern production gradually drifts further away from the discipline that created this legacy, Eastman embraces it. The result is a brilliant tribute to the iconic guitars of the 30’s and 40’s.”
Series
- Eastman Artists
page 5
- The magic of adirondack spruce
page 6
- Traditional Series
page 8
- 1 Series
page 12
- 2 Series
page 13
- 3 Series
page 14
- 4 Series
page 15
- 5 Series
page 16
- 6 Series
page 17
- 7 Series
page 18
- 8 Series
page 19
- Thinline Series
page 20
- Archtop Series
page 22
- John Pisano Signature Series
page 24
- Pagelli Series
page 25
- Mandolins
page 26
- Ukeleles
page 27
- Banjo
page 27
- Guitar body shapes
page 28
- Mandolin body shapes
page 29
- Tonewoods
page 30
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EASTMAN ARTISTS
JB Meijers
On The Cover
Eastman instruments: E20 OM, AC530-12 string and various Mandolines
Jeff Bridges hanging with a couple of Eastman guitars (the AR371 and AR805CE, respectively) in one of the issues of Cigar Aficionado.
Jeff Bridges & The Abiders
The internationally acclaimed Producer/Multi instrumentalist JB Meijers is one of those people who can play any instrument and makes every project he is involved in successful. He has worked as a producer with the likes of: Solomon Burke, Ilse deLange, Blof, Carice van Houten , The Posies, Kenneth Stringfellow and the legendary Big Star. www.jbmeijers.com
Long before his Academy Award-winning turn as “Bad Blake” in the film Crazyheart, the now iconic actor Jeff Bridges was simply playing guitar as a teen and making music with his family and friends (check out Jeff and his brother Beau in the The Fabulous Baker Boys). Jeff released his debut album Be Here Soon in 2000. After signing to Blue Note Records, he released his critically-acclaimed, T-Bone Burnett produced, self-titled album. Both Jeff and his band The Abiders are avid players of our guitars and have several in their gear arsenal including an AR905CE Uptown Deluxe, E20SS Slope Shoulder, T185MX Thinline, and AR605 Archtop. Visit Jeff & The Abiders online at www.JeffBridges.com.
The Lumineers
Eastman instruments: E8OM with Schertler Lydia pickup, MD505 with Schertler Resicoil This Grammy Award-nominated folk rock trio formed in Denver, CO before leading the roots revival of the last few years, priming listeners for a new generation of rustic, heart-on-the-sleeve music—the kind that nods to tradition while setting off into uncharted territory. The Lumineers walk that line with an unerring gift for timeless melodies and soul-stirring lyrics. Their debut album is platinum, their singles top the charts and their shows are always sold out. Keep your eye on The Lumineers in 2014, we expect even bigger things to come! www.TheLumineers.com
Ray Benson Town Of Saints
(Photography: Ruben van Vliet) www.townofsaints.tumblr.com
Eastman instruments: AC120 and an E20 OM The Dutch/Finnish indie folk band Town of Saints might easily be the next big thing from Europe. They just seem to have the right sound at the right time, that in combination with the fantastic songs and the enigmatic voice of singer Harmen Ridderbos in combination with the screaming violin of Heta Salkolahti is what sets Town of Saints apart. Their debut album “Something to Fight with” has them playing all over Europe.
Whiskey Shivers Eastman instruments: E20D, EBJ-WL1 Banjo, MD315 A freewheelin’, trashgrassin’, folk tornado, the Whiskey Shivers take traditional instrumentation, soak it in gasoline and send it into outer space. Breakneck speeds, killer grooves and impeccable musicianship: it’s enough to make Bill Monroe himself do a double-take as he spins in his grave. The band adds a fine layer of grit on top of the harddriving rhythms of traditional bluegrass. They’ve been called everything from “trashgrass” to “hardcore roots” to “crazy-assed redneck music” — whatever the words, the meaning is the same: Whiskey Shivers brings the house down. www.WhiskeyShivers.com
Eastman instrument: Thinline 486 Legendary country swing guitarist, nine-time Grammy Award-winner, and founder/ frontman of the revered Asleep at the Wheel, Ray Benson is the consummate Eastman artist covering ground in virtually every genre of music. In their career, Asleep at the Wheel have released more than twenty studio albums, charting more than twenty singles on the Billboard country charts. Whether solo, alongwide Willie, or with his band, Ray Benson is a man with a sound all his own. Aside from our Thinline 486 (a Benson favorite), we’re outfitting the entire band with fiddles, mandos, uprights and more! Catch them on the road all year long and keep tabs online at www.RayBenson.com and www.AsleepAtTheWheel.com
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The Magic of Adirondack Spruce
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Among discerning guitarists, Adirondack Spruce (also known as Red Spruce or Appalachian Spruce is considered to be the “Holy Grail” of acoustic tone woods. The “vintage” tone that emanates from instruments constructed with Adirondack soundboards has been inspiring artists and stirring souls for nearly a century. Let’s take a look at the history and science behind this coveted timber.
Pre-War Prior to World War II guitar building in the United States was a cottage industry with instruments being handcrafted from start to finish often by a single luthier. C.F. Martin and other early American manufacturers were located in the Northeastern part of the country and tended to source their materials locally. The Spruce that was harvested in the northernmost reaches of the Appalachian range was never identified as any specific species. It was simply the most convenient to use. Guitar builders were forced to compete with the nascent airplane industry who sought these same timbers because of its renowned strength-to-weight ratio. After World War II a radical shift took place in the way guitars were manufactured. The emphasis was placed on mass production spurred on by the booming post-war economy and a broadened tangibility of music in general thanks to the prevalence of inexpensive radios. As the 1940’s gave way to the 1950’s, the interstate highway system allowed guitar manufacturers to look beyond their own back yards for materials with a higher yield. The sonorous Red Spruce became a victim of these changes and the Sitka and Englemann spruces from the distant Northwest became the dominant materials used in making soundboards in the post-war era. These much larger species produced a great number of visually pleasing tops.
The Science behind the Magic What makes Adirondack sound so good? As mentioned earlier, the strength-to-weight ratio that made Red Spruce the choice of early American airplane builders also benefits guitar manufacturers. This characteristic allows soundboards to be planed thinner and bracing to be scalloped more resulting in very responsive tops. It has stiffness across and along the grain that adds to the instrument’s structural integrity. Adirondack has a high velocity of sound which allows vibrations to work very efficiently with other tone woods used in guitars and mandolins and Adirondack has the highest volume ceiling of any species used for soundboards. Red Spruce also has very strong fundamental tones like Sitka Spruce but thanks to its high fundamental-to-overtone ratio its voice is far more complex. The fusion of these features helps create instruments that retain an unrivaled clarity at all dynamic levels, from finger style to flat-picking. Despite all of its structural assets, Adirondack is probably the least visually appealing of all the spruces. It is very common for Red Spruce to have grain irregularities such as streaks, spots and “bear claws”. AAA graded Adirondack Spruce will never be as visually striking as Sitka or Englemann with the same grade. Instruments built with Adirondack are made for the ears not the eyes. We recommend a visit to your local authorized Eastman dealer on a quiet afternoon and experience the magic for your self.
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E20OM
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Inspired by the great flattops of the Golden Era. Modern Instruments, old fashioned quality.
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Available bodyshapes:
E20 Slope Shoulder
Photography: Martin Huch - www.martinhuch.de www.eastmanguitars.com 9
E6D Traditional 6 Series Top: Solid Sitka Spruce Back & Sides: Solid Mahogany Bridge & Fretboard: Ebony Finish: Nitrocellulose
E10D
E8OM
Traditional 8 Series Top: Solid Sitka Spruce Back & Sides: Solid Rosewood Bridge & Fretboard: Ebony Finish: Nitrocellulose
Traditional 10 Series Top: Solid Adirondack Spruce Back & Sides: Solid Mahogany Bridge & Fretboard: Ebony Finish: Nitrocellulose 10
Traditional 20 Series Top: Solid Adirondack Spruce Back & Sides: Solid Rosewood Bridge & Fretboard: Ebony Finish: Nitrocellulose
E10-00
E20-00SS
E10-00M
E20D
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Top: Solid Sitka Spruce Back & Sides: Laminated Sapele Bridge & Fretboard: Indian Rosewood Finish: Nitrocellulose Electronics: Fishman Sonitone ACTG1
AC122CE
AC120
Available bodyshapes 1 - Series:
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Top: Solid Sitka Spruce Back & Sides: Laminated Rosewood Bridge & Fretboard: Indian Rosewood Finish: Satin Electronics: Fishman Sonitone
AC220CE
AC222
Available bodyshapes 2 - Series:
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Top: Solid Sitka Spruce Back & Sides: Solid Sapele Bridge & Fretboard: Ebony Finish: Nitrocellulose Electronics: Fishman VT
AC320CE AC322
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Top: Solid Sitka Spruce Back & Sides: Solid Rosewood Bridge & Fretboard: Ebony Finish: Nitrocellulose Electronics: Fishman VT
AC422CE
AC420
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Top: Solid Engelmann Spruce Back & Sides: Solid Mahogany Bridge & Fretboard: Ebony Finish: Nitrocellulose Electronics: Fishman VT
AC522CE
AC520
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Top: Solid Engelmann Spruce Back & Sides: Solid Maple Bridge & Fretboard: Ebony Finish: Nitrocellulose Electronics: Fishman VT
AC622CE
AC630CE-12
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Top: Solid Engelmann Spruce Back & Sides: Solid Indian Rosewood Bridge & Fretboard: Ebony Finish: Nitrocellulose Electronics: Fishman VT
AC720
AC722CE
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PRIV ATE RESERVE MASTER LUTHIER SERIES
Top: Solid Engelmann Spruce Back & Sides: Solid Indian Rosewood Bridge & Fretboard: Ebony Finish: Nitrocellulose Electronics: Fishman VT The 8 Series Master Luthier guitars feature the highest grade of tone woods and materials from our private reserve. The production is limited.
AC822CE FF
AC812
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T386 Top: Laminated Maple Back & Sides: Laminated Maple Finish: Nitrocellulose Pickups: Kent Armstrong HPAN-1 T186MX (16”; also available as T185MX - 15” & T184MX - 14”) Top: Solid Carved Maple Back & Sides: Solid Mahogany Finish: Nitrocellulose Pickups: Seymour Duncan 59’s 20
T486B (also available without Bigsby as T486) Top: Laminated Maple Back & Sides: Laminated Maple Finish: Nitrocellulose Pickups: Seymour Duncan Phat Cats
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AR371 (also avail. as 372CE w/2 pu’s) Top: Laminated Spruce Back & Sides: Laminated Maple Finish: Nitrocellulose Pickups: Kent Armstrong
AR610CE (also available as AR605CE Top: Solid handcarved Spruce Back & Sides: Solid Mahogany Finish: Nitrocellulose Pickups: Kent Armstrong 22
AR810CE & AR805CE Top: Carved Spruce Back & Sides: Solid flamed Maple Finish: Nitrocellulose Pickups: Kent Armstrong AR810CE
AR805CE
AR503CE (also available in Classic color) Top: Carved Spruce Back & Sides: Laminated flamed Maple Finish: Nitrocellulose Pickups: Kent Armstrong
www.eastmanguitars.com 23
John Pisano John Pisano Signature Model
AR880CE Blonde Top: Solid Carved Spruce Back & Sides: Solid Maple Finish: Nitrocellulose Pickups: Kent Armstrong Custom
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Premium tonewoods and the time honored process of meticulous hand craftsmanship form a harmonious relationship that has established Eastman as a major force in the world of archtop guitars. Most often associated with jazz, Eastman archtops are often used in many other styles of music due to their beautiful sound and finish. Eastman is proud to offer the broadest range of traditional and contemporary premium archtop guitars available today.
AR910CE (also available in 16� as AR905CE) Top: Solid Carved Spruce Back & Sides: Solid Maple Finish: Nitrocellulose Pickups: Kent Armstrong
Pagelli Signature PG2 Top: Solid Carved Spruce Back & Sides: Solid Maple Finish: Nitrocellulose Pickups: Kent Armstrong
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MD305 Top: Solid Spruce Back & Sides: Solid Maple Finish: Satin
MD515 Top: Solid Spruce Back & Sides: Solid Maple Finish: Nitrocellulose
MD614 Top: Solid Spruce Back & Sides: Solid Maple Finish: Nitrocellulose Electronics: Schertler Resocoil
MD815V Top: Solid Spruce Back & Sides: Solid Flamed Maple Finish: Handrubbed Oil Varnish
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MD915 Top: Solid Adirondack Spruce Back & Sides: Solid Sugar tMaple Finish: Handrubbed Oil Varnish
EBJ-WL1 Hoop: Maple Neck: 3 Piece Maple/Ebony Head: Coated Finish: Varnish
EU3T Top: Solid Mahogany Back & Sides: Solid Mahogany Finish: High Gloss Nitrocellulose Available in: Soprano, Concert and Tenor sizes
The Eastman EBJ-WL1 is a faithful recreation of a 1903 A. C. Fairbanks Whyte Laydie No. 2. We worked very closely with world renowned vintage instrument expert John Bernunzio over a three year period to develop this awe-inspiring work of art.
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G U I TA R B O DY S H A P E S Generally speaking, small bodied guitars are made for finger-style and large bodied guitars are made for flat-picking. The physics behind this are as follows: Finger-style produces less treble and more bass because the soft pads of the fingers are used. A smaller body counters this with its tightly focused treble. Conversely, the use of a pick produces a treble attack that can be offset by increasing the body size of the instrument and subsequently, its bass response. A player who does equal amounts of both types of playing might gravitate toward an instrument near the center of the size continuum. Consider the real use of the instrument. If it is to be used in an ensemble setting, what other instruments will it be played with and where does the guitar fall into the mix of the overall music? If it is to be used to accompany the vocalist, consider the timbre of the voice to be accompanied. The physical stature of the player and comfort level may also affect the choice of body size. These are simply general rules and in music, rules are made to be broken. Visit your local Eastman dealer and find the one that fits you.
Par lor = P Although small by modern standards, this was the normal sized instrument in the late nineteenth and early twentieth centuries. Guitars were considered a parlor instrument, that is, to be played in small rooms for small groups of people. Don’t let their diminutive size fool you though. With the extra mass of a pyramid bridge moved to the widest point on the lower bout, this slotted headstock 12 fret guitar can fill more than a parlor with its huge sound.
D ouble OO = OO Inspired by the iconic parlor style, pre-war guitars from the 1930s, the OO is a short scale 12 or 14-fret vintage “blues box.” Our smaller bodied OO features a premium blend of select mahogany, solid spruce, and rosewood tonewoods. The smaller upper bout coupled with a larger lower bout and thin soundbox makes the OO a comfort to play and ideal for a smaller, quieter room. Favored by everyone from old blues players to folk and americana, to virtually guitarists of any musical genre, the OO transitions playing styles seamlessly from fingerstyle to strumming to a bottleneck slide. From the back porch to the stage to recording sessions in the studio, the OO is a versatile guitar that fits into any players collection.
Grand Concer t = GC With its shape inspired by the contours of the great classical guitars of Spain, the Grand Concert’s addition of steel strings to this iconic design creates a powerful instrument. Most commonly associated with finger-stylists, the Grand Concert is also flat-pick friendly due to its depth. All Eastman Grand Concert models have an elegant slotted headstock and a functional 14 frets clear of the body.
O rches t ra M odel = O M This is the quintessential finger-style instrument. With amazing dynamic range, the Orchestra Model runs the gamut from subtle to bold. OM’s are articulate and comfortable to play due to their reduced body depth. Eastman takes a creative departure from the traditional by equipping our OM’s with a 25” scale length.
G rand Auditor ium = GA The modern profile of the Grand Auditorium represents the best of both worlds for flat-pickers and fingerstylists. The Grand Auditorium is a true hybrid that has many of the attributes of smaller bodies with the volume, punch and bass of a dreadnought without sacrificing anything.
D readnought = DR The iconic shape of the Dreadnought is synonymous with acoustic guitars in general. Big and bold, these cannons are perfect for ensemble settings where the guitar competes for sonic space with other instruments or accompanying strong singers. The Dreadnought is the classic flat-picking bluegrass instrument.
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G U I TA R B O DY S H A P E S F -St y l e & A- St y le F-style or Florentine mandolins are the iconic instruments of Bluegrass music and represent the epitome of fine instrument craftsmanship. The ornate carved scroll adds mass to the instrument and balances comfortably on a standing player. A-Style or teardrop mandolins are much simpler in design and offer musicians the benefit of a fine mandolin without the extra cost of a labor intensive F-style. There is much debate over the sonic differences between F and A style mandolins. From a luthier’s perspective, the only component which might contribute to differing sound is a slightly larger neck block on the F-style which may give them more sustain and audible fretboard dynamic attack. F-style mandolins are identified in Eastman models with the number “1” in the center digit. A-style mandolins are identified with “0” in the center digit.
X04 A- St yle/O val H oles = AO
X14 F- St yle/O val H oles = FO
X05 A- St yle/ F- Ho les = AF
X15 F- St yle/ F- Ho les = FF
F -h ol e & O val h ole Soundhole design impacts the voice of a mandolin much more than its body shape. F-hole mandolins have more treble attack and percussive “chop” than oval hole instruments and are the preferred instruments for ensemble settings where the mandolin player is competing for volume against other loud instruments such as banjos, fiddles and big dreadnought guitars. Oval-hole mandolins are more throaty and vocal and are more compatible with Celtic/Folk music or mandolin orchestras. Because the oval-hole opening lies directly below the courses of strings, there is also a perceived ambient reverb on these mandolins. Like all music, there are no hardfast rules. Visit your Eastman dealer and find the mandolin voice that fits your musical imagination. F-hole mandolins are identified in Eastman models with the number “5” in the final digit. Oval-hole mandolins are identified with “4” in the final digit.
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TONE WOODS Tone woods should be viewed as a way to fine tune a guitar buyer’s choice once the body style has been chosen. It is important to point out that although there are general tonal characteristics to each wood that Eastman chooses to use, anomalies occur all the time with these woods. It is possible to find rosewood (presumed to be bass focused) that is so trebly it could peel paint and maple (presumably trebly) so warm that it could lull a grizzly bear to sleep. We suggest you visit your local Eastman dealer and find the voice that speaks to you.
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SITKA SPRUCE
Scientific name: Picea sitchensis Origin: Northwestern North America Sitka is the most commonly used top wood for acoustic instruments. Its large logs yield a high quantity of even grained soundboards. It is most noted for retaining its clarity when played forcefully. Eastman uses Sitka spruce on their mandolins, flattop acoustics and carved arch-top guitars.
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ENGLEMANN SPRUCE
Scientific name: Picea englemannii Origin: Western North America
Lighter in color and weight than Sitka, Englemann’s tonal characteristics are rich and complex. Although it’s clarity can be sacrificed when played loudly, its definition is pronounced when played softly. Eastman uses Englemann spruce on their 500 and 700 series flat-top acoustics guitars.
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A D I R O N D AC K S P R U C E
Scientific name: Picea rubens Origin: Eastern North America
Heavier and stiffer than most spruces, Adirondack or Red Spruce has a high volume ceiling but can also be played dynamically. Eastman uses Adirondack spruce on many of their Traditional Series flat-top guitars and high end mandolins.
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ROSEWOOD
Scientific name: Dalbergia (species varies) Origin: India, East Asia With its high velocity of sound and strongly pronounced low frequencies, Rosewood is commonly used as the back and side material in performance quality acoustic guitars. Rosewood delivers its signature low frequency without sacrificing highs or mids and the sympathetic harmonies it produces add a perceived reverb effect. Eastman uses Rosewood for the back and sides of some of their Traditional Series flat-tops as well as their 400 and 700 series acoustics. Rosewood is also used as the fretboard material on the 300 series mandolins, 100 and 200 series acoustics and 300, 400, 500 and Jim Fisch archtops.
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MAHOGANY
Scientific name: Swietenia (species varies) Origin: Tropical forests throughout the world Mahogany is known for its dark woody tone with an emphasis on the low/mid frequencies. It has an ambient acoustic quality that sounds the same to the player and the listener. Eastman uses mahogany for the backs and sides in some of their Traditional Series guitars, 500 series acoustics and Jim Fisch archtops.
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MAPLE
Scientific name: Acer (species varies) Origin: Northern Hemisphere Maple, with its flames, pommels and quilts is one of the most visually striking tonewoods used in instrument making. It is acoustically transparent and known for its treble attack and forward projection. Eastman uses maple for the backs and sides on their mandolins, 600 series acoustics, Uptown and Uptown Deluxe archtops as well as the tops of their double cutaway Thinline series guitars.
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SAPELE
Scientific name: Entandrophragma cylindricum Origin: Africa Although Sapele is often referred to as “African Mahogany”, it is not from the mahogany family. It does however resemble mahogany in tonal characteristics with it dark woody tone and ambient low-mids. Eastman uses Sapele in their 300 series acoustic guitars.
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EBONY
Scientific name: Diospyros (species varies) Origin: Western Africa & the Asian Subcontinent Ebony is a very dense, dark wood that has historically been used for fingerboards in orchestral stringed instrument. As a tonewood, it adds a dynamic attack to instruments. Eastman uses ebony as the fretboard material on their 500 series and higher mandolins, Traditional Series acoustics with Adirondack Spruce, 300 series and higher flat-tops and both the Uptown and Uptown Deluxe series archtops.
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L A M I N AT E Laminates are a ply of multiple layers of veneers (most often 3) that are pressed together in a cross-grained orientation. Laminates are more durable than solid woods, take on some of the tonal characteristics of the woods they are made from and tend to resist feedback more than solid woods when amplified. Eastman uses laminates for the backs and sides on the 100 and 200 series acoustics and 500 series archtops. The 300 and 400 series archtops are made entirely out of laminates.
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Eastman Europe | Radioweg 5B | 1324 KW Almere | The Netherlands | T: +31 (0)36 546 00 36 | F: +31 (0)36 546 00 35 | info@eastmanguitars.eu | www.eastmanguitars.com
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