Hello all! I thought that I would consult with you Eastman experts about an AC-420 that I have seen for sale on Facebook Marketplace. The seller says that it is in mint condition "only played once", etc. They are asking $1100 which seems wildly over-priced to me. So what do you think a fair price would be? I'm thinking somewhere in the $400 to $500 range. any thoughts would be appreciated.

Ray

I've been looking at this guitar on the site of dealer friendly to lefties.  I passed over it a million times, more interested as I was in the 335 types.  I solved that with a good Casino.  

But, as they say in bad books and movies, something was missing in my (guitar) life, and this guitar fills the gap. I'm still learning to eq it, getting to know the stock pickup.  I'm the first to swap pickups if the guitar doesn't sing. I'm not sure that I want any other sound than the stock on this one. Why goof around with something that sounds great the way it is?

In short, I've always been a fan of the looks of Eastmans--aren't the headstocks perfect--no rip of a Gibson, not big and awkward looking as on a familiar brand's jazz axes, just a grand but not gawdy headstock.  And on this model, the lack of fret inlays adds to that "uptown Sat'd'y night vibe."  

I could go on.  I appreciate the add on the forum.  I'm mainly a guitarist and bass player into rock, jazz, a bit of funk, and classical.  One day I'll listen to Sex Pistols, the next to Ella and Stravinsky.  

A couple months ago, I picked up an E6D-TC, which was made with a Swiss Alpine Spruce top, rather than the normal Sitka Spruce top.  I've heard different stories about these guitars --- originally only 30 made, possibly due to Sitka shortages from wood suppliers, possibly Dana Bourgeois suggesting Eastman try making guitars with Alpine Spruce.  Whatever the reason, my TC is outstanding, so I decided to look for its Rosewood sibling (which seem to be much more difficult to find).

The search was interesting, but I ended up finding one at Sky Guitars in TX (whom I recognized from other forum members' positive reviews).  I'm not sure if Erik is a one-person operation or just very busy, but our calls got interrupted a couple of times.  But on the third call, he asked about my playing style and said he would set the guitar up and ship same day.  My initial apprehension faded to satisfaction, when I saw the shipping notification that night.

The package delivered on Thursday.  UPS left the "signature required" box leaning on a pillar next to my front door, so thankfully, I was home and expecting the delivery.  The guitar was double-boxed with the original Eastman box inside and the "made for guitar" bubble on each case end.  Inside the case, the guitar was shipped with a Boveda humidity pack and holder.

The E8D-TC is built extremely well.  The top has even color and grain with just the slightest inward curve at the lower bout, and plenty of silky cross-grain.  The body is a darker stain Rosewood, which looks fantastic, and the Ebony board and bridge are jet black.  Peaking inside, the bracing is as clean as the fit and finish on the outside.  Eastman has also improved their pickguards, which are no longer a mandatory replacement (although I'll probably swap them out for Holter Pickguards).

The setup is absolutely perfect, so kudos to Erik at Sky Guitars for doing such a great job, especially on such short notice to ship same day.  The neck is very full, and I can feel its weight in my hand.  It's very comfortable to hold and play, and although I haven't measured it, the nut and string spacing seem spot-on.

The first thing I did was change the strings, replacing the stock D'Add EXP/XT strings with my go-to GHS PB lights.  Obviously, the guitar is a little bright with the new strings, but I can tell that it's going to be a monster.  The tone is dry (thanks to the TC) and incredibly clear, all the way up and down the board.  Really nice low end, shimmering highs, but even the mids aren't buried, which is typical of the Eastman sound.  Wonderful overtones and sustain.  I don't know if there's any truth in Moon Spruce, but after owning two guitars with them, they're a fabulous choice.

I've been playing it alongside my other Eastman dreads, not to "rank" it, but rather to compare what I'm hearing vs. the other guitars.  It has more headroom than my E8D with a gentler warmth that I actually prefer to Sitka, but it's not as complex as my E40D.  It also compares very well to its sibling, E6D-TC (Alpine), although there are obvious differences between the sound coloring between Mahogany and Rosewood.

Finally, there's been talk about Eastman switching from Nitro to Trutone.  I have an email to Eastman, hoping to clarify which is on these two new guitars.  I tend to focus more on what I'm hearing than what I'm seeing, and if it's Trutone, I can't really tell the difference, so maybe it's still Nitro.

I am super excited to have this pair.  The E6D-TC (Alpine) has already become one of my favorites to play and likely my favorite Mahogany dread I've owned.  So, I'm hopeful that this E8D-TC (Alpine) will find a similar place, albeit in a more competitive field (since I have more Rosewood guitars).

Obligatory NGD photos below.  

Another EGF member just PM's me, asking about root shadows.  I've learned so much about guitars online, and I thought it would be a good discussion topic.  My understanding is that a root shadow occurs when the top came in contact with the location, where a tree branch was previously growing.  Unlike knots, which are more invasive and impact the sound, the consensus is that they have no tonal impact.

They cause a wave in the grain that kinda looks like a bearclaw, except that it's in a single location and generally straight (and usually isolated).  Attached are photos of my 2016 E40D from when I purchased it.  The root shadow was located right under the sound hole, so it's mostly covered with the pickguard now.

Some companies would never think of using an "imperfect" piece of wood for their top of the line guitar, but Eastman obviously knew this top had something special, despite its visual flaw b/c the sound on it is amazing.  When I asked around, someone told me that Lowden had some tops with root shadows, so there are some other companies out there using imperfect tops on high quality guitars, which is refreshing to me.  It's the sound, not the looks that do it, for me.

I saw a release of the updated AC series I believe from Winter NAMM 2020. Eastman changed the soundboard (Engelmann to European Spruce) and added a sound port and arm bevel. I think there were some other minor tweaks. The AC622CE is the maple B/S version of the updated models. It definitely caught my eye and over the last 18 months or so I have read and listened to just about every post on this model. I contacted Ted at LA Guitar Sales several months ago (>4) and he said he did not know when he would get another. A couple of weeks ago as luck would have it, he got one in and I bought it. As always Ted and Helene were a pleasure.

First Impressions
1) It is a lot lighter than I expected. It is probably 75% the weight of my E40OM. Part of this is probably due to the different woods, but I did notice that the braces - especially the back - are much lighter than the E40OM. They are probably 1/2 the height and about 2/3 the width. I think the other contributing factor is the finish.
2) I have confirmed via Eastman that the finish is the new Truetone finish. It is noticeably thinner than the E40OM's finish. Only time will tell if it does the job, but there is nothing indicating that it won't. Also the interior is not sealed like the E40.
3) Aesthetics - the guitar presents itself exceptionally. The silver leaf inlays on the neck and headstock match the rosette. The blue/green "branches" sets off the silver leaves. The maple arm bevel matches the back and sides. Unstained maple trim on all edges continues on to the bound neck. The minor issue is that there is a little bit of stain overspray on two areas of the inside of the guitar. It is not noticeable unless you look for it. Over-all it is very well executed.
4) Playability - the set up was just about spot on and only required a little tweak of the truss rod. The neck is a touch thinner than my E40 or E6. The nut is right on at 1.75" but the spacing is a little narrow. If I wanted to, I could have a new one cut with wider spacing as there is room on the fretboard. The arm bevel is a nice touch as it makes the guitar very comfortable on my right arm. The sound port definitely increase the volume to the player. 
5) Pick-up - it works. I rarely need to plug in. It is nice to have and the Baggs Element seems to replicate the acoustic sound of the guitar. 
6) Tone - I was a little concerned about the "brightness" of maple, but those concerns were unfounded. The bass is good and present. At times the highs seem almost glass like - very clear and direct. It definitely doesn't have the overtones of the E40OM or the balance of the E6D-TC. The notes just seems to present themselves and then get out of the way.
7) Tuners - This is the first set of sealed tuners I have ever had on a guitar. They are smooth as silk. I am very impressed
8) Guard - I took off the stock one and put on a clear for now. (pics with both below) I might get something from Taylor Mullins but I haven't decided. I would welcome comments as to how it looks without a guard. 
Conclusion
I really like it. Do I love it? Maybe not yet but it has distinct possibilities. It lets me play with some options - a 000 with red spruce (Adirondack) over rosewood, a dreadnaught with torrefied Alpine spruce over mahogany (Khaya) and now a European spruce (probably picea abies) over flamed maple. Here are some pics. Due to lighting the top looks creamier in some of the pictures. A true representation is the third picture - the one with the guard on. 

  
 

 

This is my first NGD or in this case new to me. All my guitars except the PCH have been used or demos. I am a Covid Caballero having finally taken the step to learn to play. So this is probably not useful to the seasoned on this forum.

My guitar arrived from Dave’s Wednesday.  It was very hot here in Chicago land and the box was extremely warm to the touch.  I had to sign which was a nice and got it into the AC to cool down. I had 5 hours or so of work so I let it acclimate.  

I have been lucky in buying used or demos my E6D had the plastic on the pickguard and the PRS had the pickups covered. Essentially new.

Not this time. The guitar was packed well. The new cases are a huge step up. When I opened it and pulled the guitar out there was no plastic on the pickguard. In fact it looked someone took a saw to it. But the top was pristine and the b/s were radiant.  The strings were spent so I hustled to a local shop and grabbed some Martin SP 80/20s.  I have an order coming from strings and beyond Saturday.  I restrung it played a bit but let the strings settle til the next day.

Got up early and was really disappointed.  It sounded dead.  I was considering sending it back. On a whim I took it to Down Home Guitars and had them look at the set up.  The luthier said the neck looked ok but the saddle looked off. He did a quick set and suggested going with uncoated/untreated strings so He Put Martin uncoated 80/20s, tweaked the neck lowered the action.  Magic.  It was like night and day. He said it looked like saddle was brand new and was not flattened or shaped. He took it back and made few other adjustments to the nut slots and gave it back. It sings.

I have huge hands. The neck is perfect. The edges have rolled and the fretwork is impeccable. And to my surprise it is light. Much lighter than the 6 and just a tad heavier than my J 45.  

A few thoughts:

1. The finish is definitely the truetone. Noticeably thinner than the 6.  The smell is less obtrusive.
2. There are visible swirl marks on the b/s.  I think due to the lining of the case. They follow a pattern similar to the motion of removing the guitar from the case.  Also could be the lining material is coarser.
3.  I had recently played a Martin Special 16 rosewood.  It had that tone of an HD 28. This is a bit similar. Not quite there but close. And closer than the Special 16.
4. I have thought the 6 sounded less vintage and more toward but not at the Taylor modern sound. The TC top moves this back toward a more vintage sound but retaining the note clarity Eastman is known for. 
5. I will replace the pg polish it up and see if the swirling continues. If it does meh.  I like to play not polish.

I now own an all solid rosewood sitka dread that sounds fantastic and got it at a great price.  Now to see if the pics work.

So, I'm wondering if there are some containers full of Eastman Guitars ???

Might we see some stocks in European dealers soon?

Will the instruments be OK after such a ling time in middle- eastern and Mediterranean climes?

mmm, chin scratcher! What think you?

Ol'Andy

Those early albums rocked with loads of Texas blues and shuffle lines and expanded the idea of the power trio. As a guitarist, I was always drawn to Billy Gibbons, but it was that monstrous rhythm duo underneath that made ZZ Top work. I just watched their Netflix documentary last month and will probably stream it again this weekend.

No comment on the pricing. No knowledge of the seller or guitars, but here is a way to jump start a small Eastman collection. (Not Concept Store level but a good start)

https://www.acousticguitarforum.com/foru...p?t=621953

Hadn't listened to any of his music for a long time and stumbled across this video and thought I'd share. What an amazing artist he was!

https://youtu.be/FJ85Hep0kD0