Hi, 

I have to eastman guitar that atm live in their cases insted of on a guitar stand next to my sofa. It is because i am afraid that the Nitro finish will react with the plastic material. How do you guys keep your nitro finished eastmans? Any experience on what happens if you keep it on a stand?

Hi there

something that bothered me from the beginning on my Faith Guitar was the "missing" string grooves on the bridge. Well, I didn't know better at the time as this was my first propper acoustic Guitar. I was and still is a pain when changing strings (surely due to me being a beginner), only after getting my Eastman I realised how much easier it is to change strings on the Eastman with the grooves. I don't want to start a technical thread, just like to hear how your experience is and what you think.

I always felt this is something stupid to ask, especially as it might be obvious or normal or whatever, and it is just my lack of knowledge...but well, this is such a great forum, wonderful people, I had a few beers last night and now I am ready to ask HAHA. well, no joke, I had the beers with friends watching the EM Soccer Game GER - FRA 

attached 2 pics of my eastman, with the snug fit bridgepins and 2 pics of my Faith Guitar with especially the low E pin sticking out a bit, as I just don't seem able to fit it better....I think due to the non existing grooves, but it might just be me. 

also, notice the different breaking angle of both Guitars, quite interesting I find. the Eastman is the E8OM (short scale) the Faith is the Saturn model, Dreadnought (long scale) just for your info. 

curious to hear if you guys experience the same issues with your guitars, non groves etc....

cheers
Mitch

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I found a SB59/V-GB over the weekend at a really good price. It had a neck crack repair and I really could not tell where it was cracked. The dealer had sprayed a nitro finish over the repair to match the finish and it had pronounced checking. Wondering if I should take a chance. What should I look for? The neck seemed stable. The checking was very much out of character for the factory relicing which made me a bit uncomfortable. Like it may have been hiding something. It still had a beautiful sound and I am really looking here for some advice. I could probably get over the mismatched relicing but wondering if anyone here has any suggestions or experience purchasing repaired SB59s. I did not ask if they had any pictures of the crack before the repair and I wish I had. I am in the US.

Hi All,

Following up on some prior observations.  I have an E8D-TC Alpine and an E20D-TC

A couple build observations to date:
1. interior shellac:  E20D-TC yes, E8D-TC no
2. Both have 'bump' on X-Brace intersection.  So far folks on this forum have noted this on TC models only.
3. Neck build: E20D-TC has a stack heel and a joint at the volute. E8D-TC Alpine has a stacked heel, solid otherwise 

Further observations.
1. Neck block.  Neck block on both have a spanish foot on the top side only.  Different from the classic Martin neck block.
2. Tongue brace. E20D-TC had a tongue brace of sorts, the E8D-TC Alpine does not have a tongue brace.

Here is pic of the E8D-TC tongue brace on the left.  Neck block on the right extends up underneath the top/fretboard


Here is a pic of the E8D-TC Alpine no tongue brace


Another shot to the right of that one shows a different neck block set up.


To contrast here's the neck block and tonque brace on my good ol' HD28


Interesting "no tongue brace" on a dreadnought is usually a extra option when available.  The spanish foot provides stability with the neck joint and reportedly improves sound transmission.

-Bill

Most of you know I purchased this late April and I've ruminated over whether to keep it or not.  My E20OM-TC and E10OM SB have both grabbed me and I'm not playing this.  Looking to seed the purchase of another different guitar. Something more unique to the collection

Depending on location am willing to negotiate final price based on shipping cost.  

Some recent posts have featured the Eastman AC330 12 string. Our own lefty Thedman on an AC330 :- :-

https://www.youtube.com/watch?v=hpkbAYS5Uac

and the AC530 :-

https://www.youtube.com/watch?v=awrPhn3RJXw

Guitar is an E20-OM. I spent a lot of time researching, trying to find the best amplified sound I could. I like the sound of the guitar, I just need it louder for gigs. At the same time, I didn't want any tone robbing junk under the saddle or a bunch of wires and boxes inside. that would change the acoustic sound. I looked/listened to just about everything out there. After a silly amount of reading, listening to clips, asking questions on AGF and emailing back and forth, I finally settled on the Dazzo pickups along with the Sunnaudio "experimenters mic" along with a Sunnaudio MS-2 preamp. I'm super happy with the setup. Had my 1st gig with it last Saturday and it sounded great! I don't think I've had a better live acoustic tone in all of my days.

Just to give you an idea, here is a quick clip of the Dazzo olny, then the same thing with the Sunnaudio "experimenters mic" added in, direct through an Apollo Twin into Logic. Preamp is the Sunnaudio MS-2, which was set to flat, no eq. No post processing - what you hear is what you get. Let me know what you think.

https://soundcloud.com/user-426155011/da...enters-mic

Hi,

Just bought an e8om tc but with an alpine spruce top from Florinett instead of the listed Sitka spruce. It is something really special about this one and it shimmers endlessly when I strum chords.

Do any of you know anything about these alpine spruce limited runs? I got a “certificate” from florinett in the case also.

I messaged Eastman about it. All they said was that they did a limited amount of the TC guitars with alpine spruce.

-So anyone know anything about the alpine spruce top variant?
-have you tried these what was you opinion?
-Could this go up in value?

There it is next to a Taylor 312ce and also besides a e10p parlor. And the so called "certificat" from Florinett wich is basically a printed A4 paper with some info.

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You are all the worst influence, and I'm checking Dave's Guitar Shop WAY too often now.  After seeing Funky Chicken's (THANK YOU FOR POSTING!) order I checked their site once again and saw the E10OO-M that I've been trying to find since my E10OO purchase last August.  I've never ordered from them before, but they had a label created in about 10 minutes, shipped later that day, and a guitar in Memphis 3 days later.

I would love to know the history on this guitar.  I'm guessing it wasn't simply a used trade-in since they had a second one of these popping up later that same day.  This looks like the case has been sitting in a warehouse for a while.
 
As described, it has beautiful flamed mahogany (probably Khaya) top, back, and sides. 




It has a SLIM 1 3/4 inch neck!  This was my one complaint about the standard E10OO.  After playing the standard E10OO for a while, I did get used to it, but it’s still a bit slower than playing my Eastman OM’s.  This neck feels almost exactly like my circa 2016 E6OM.  It also doesn’t have the usual E series volute which does not matter to me at all.
 

I think the most interesting thing about this guitar though is that the body is about ½ an inch wider than a standard E10OO.  It also has the through bridge from the E10OOSS series instead of the E10OO pyramid bridge.  Here it is next to my E10OO.  I think Eastman took their E10OOSS body and put a 12-fret 1 ¾” neck on it. 



I've played several E10OOSS over the past few years, and though they're ok, they've never been something that needed to come home with me.  They've always come across as a bit boxy to me (going for that old Gibson tone), but THIS guitar with the 12-fret neck and modified bridge placement keeps a bit of that bluesy tone, and gets rid of the residual boxiness (maybe the top-wood has something to do with that as well).  It's been working well for finger-picking, flat-picking, and strumming without breaking up too early.


I’m not sure how I would describe this guitar to sell it, but that will never happen.  I’m heading out of town soon and this is the one going with me.  If my kids don’t want them this has immediately replaced my GS-Mini-mahogany and Alvarez Blues 51 as a travel guitar.  It’s small, super playable, gorgeous, and sounds amazing.  I HAD been planning a trip to Elderly Instruments in a week or so to see if they had anything better than my current instruments, but now I don’t know if I’ll even bother (actually that's ridiculous, of course I'm still going).

Does anyone have experience using desiccant to control high room humidity in their guitar case?

We live in a northern climate (Northern PA).  My house does not have central ac.  My studio is in the finished basement.  There are two glass block windows that do not lend themselves to window air conditioners.  I always keep my two Eastman guitars in their cases when not playing them.  In the winter I used sound-hole humidifiers in the cases.

I do have a room dehumidifier in the studio, but sometimes we turn on the whole house fan, which just spreads the dehumidified air throughout the house.  Also, the dehumidifier sometimes can't keep humidity below 60%.  So far this summer, I have seen humidity readings in the studio as high as 72%, but most of the time (so far), it has been in the high 50%s/low 60%s.  I expect it will go higher as the summer progresses.

To cope, I decided to try putting desiccant in the cases.  I bought some silica gel desiccant. Just guessing, I put 6 of the 5 G pouches in each case (30g total/case).  I put 2 of the 6 pouches in the each sound-hole humidifier (which normally holds a sponge).  Each case has a hygrometer.  It has only been a few days, but the case humidities seem to be staying where they were when I started this at 50% & 55% (The one case reads a little lower because I had been traveling with it).  I realize that eventually the pouches will become saturated, and they will need to be baked out.

Am I on the right track here?  Anyone have experience with this?

CJ