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Having owned four Eastmans, I was urged, in another thread to review them. It’s too cold on this clear Carolina morning to do anything but drink coffee and wear layers, so here goes:
The SB 59 is my newest Eastman, so I’ll start there and work my way back. I’ve been playing for 50 years, and I’ve never owned a Les Paul-like instrument. Originally inspired by the introduction if the SB59 online, I decided it might be time. I came very close to buying one online, decided I needed to do some research, and auditioned a bunch of “LPs,” mostly Gibsons and the better Epiphones. I might have bought an Epi, but every one I played that had the other options I wanted, also had a D neck profile that just didn’t feel right. Then, as I was wallowing in indecision and after having bought a Cabronita Telecaster to soothe the GAS, my guy from Soundpure called and said they had a couple of SB59s in stock. I drove over to Durham, he put the first one in my hands, and I was lost.
Except for the softened horn and slightly altered headstock, this is an excellent copy of a 59 Les Paul. And it’s the best “59” I played in my search. Fit and finish is flawless, the hardware is high quality and period correct. The fret work is extraordinary; I couldn’t have done better by taking it straight from the shop to a luthier. The fret ends are even rounded. That, and great set up, puts it in a quality level above the expensive Gibson’s I played.
I suppose they could have been “more vintage” by choosing Seth Lovers or something like Lollar Imperials, but I’m a fan of Duncan 59s, so I’m good. I haven’t a clue what the electronics are under the hood, but they’re silent, smooth, and gradual...exactly what is needed and likely better than what came in a 59 back in 59. It’s not a light guitar, but not heavy by LP standards. One of the best “Les Pauls” I’ve ever played, and I’ve played a few. I’m so glad I didn’t get impatient and buy an Epi. And the Gibsons? I hate this, because I’ve owned and loved quite a few of them, but if the QC I experienced is the current standard, I wouldn’t pay $1800 for one, much less the $2800 they were asking.
Sorry for the fuzzy photo, the software here won’t let me attach hi res. I have to shoot it on my phone, reduce the file size while mailing it to myself, the save it on my pad to insert. And this is what I get.
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Tim, thanks for the excellent review. Frank Ford's (frets.com) motto is that he will not let the CNC get him down. CNC is the best method for cutting complex geometry like necks, bridges, etc... but the level of automation in building by Gibson, Martin, Taylor, etc these days has turned into a numbers game of how many cookie-cutter guitars can we build. sadly true
Cookie-Cutter guitars sound and play like the clones they are. viva the spirit of Eastman.
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(01-07-2018, 07:41 AM)Bert Wrote: Tim, thanks for the excellent review. Frank Ford's (frets.com) motto is that he will not let the CNC get him down. CNC is the best method for cutting complex geometry like necks, bridges, etc... but the level of automation in building by Gibson, Martin, Taylor, etc these days has turned into a numbers game of how many cookie-cutter guitars can we build. sadly true
Cookie-Cutter guitars sound and play like the clones they are. viva the spirit of Eastman.
— I don’t personally have a problem with CNC for a lot of things, it can probably cut inlays more precisely, i imagine a Plek machine does impeccable fret work. I’d even guess that CNC could route binding channels more consistently. My romantic notions of hand craftsmanship are wrapped up in things like final neck shaping, finishing, etc. And I’d like a skilled human involved in setting necks. That geometry, in a set neck guitar, is too important. But the most important thing is QC; humans making sure problems don’t ship. Oh, and I really dislike a lack of fret work. Too many guitars, even expensive ones, look like the frets were simply installed, trimmed, and shipped. At the price point, I’d forgive this of Eastman, but I know they don’t do it. I can see human hands in the gentle softening of fret ends on their more expensove models. I can feel it in the playing.
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Great review. Eastman really nailed it with the SB59.
"It's only castles burning." -- Neil Young
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(01-07-2018, 07:18 AM)Tim Farney Wrote: >>SNIP<< And the Gibsons? I hate this, because I’ve owned and loved quite a few of them, but if the QC I experienced is the current standard, I wouldn’t pay $1800 for one, much less the $2800 they were asking.
Egads, If I were a mover and shaker at any company and read a post like this I'd... well, let's say it wouldn't be a happy day for the management responsible for quality control :-)
Regards,
Gary
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One of the hidden problems with the Plek system (for Martin) is that the neck has already been set before the guitar goes into the Plek setup. CNC leveling the frets, cutting the nut/saddle, etc is wonderful but... at times it leaves a less than ideal alignment between the fretboard and bridge. I've seen several new Martins that are heading for a neckset the day they are shipped, my 2015 D18 was 18mos old and needed a neckset which Martin does not cover under warranty any longer.
It's a technology for speeding up mfg. At Collings, Taylor, & Bourgeois they just unbolt the neck, re-shim and get it right before it ships. But 'I don't like bolt-on necks' is the delimma.
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