This is a repost of this thread I made on AGF several years back (linked here with moderator permission). I'm posting it here in case you all find it interesting. There may be a few errors in formatting - if so, please let me know and I'll adjust. This is a pretty quick copy/paste job.

I've since sold both OM's, purchased an AC708CE (that's currently for sale here and various other places), and am in the process of moving on to an Eastman rosewood dread of some variety.

Who knows... perhaps there will be another comparison thread in my future!

So, without further ado, enjoy!

UPDATES AT END OF THREAD

Disclaimers:  

1)  This is likely to be quite lengthy.
2)  This is not a finished work, but will be updated as I am able.  I will update this initial post, dating each update while also bumping the thread to reflect said update.
3)  This will contain some opinion, a few facts, and lots more very subjective opinion.  It's intended to be fun, as informative as writing about sound can be, and hopefully interesting.

You have been forewarned...

Introduction

So, like many of us AGF'ers, I find myself prone to the occasional bloat and discomfort caused by the Classifieds section here. Or more accurately, caused by my periodic perusal of the Classifieds.

Over the past year or two I've bought and sold a few instruments here, never looking to turn a profit, rather because I've become curious about a given brand as I've read posts, reviews, listened to sound clips, and so forth.  A glorious old, severely worn Santa Cruz OM, one of the newer Martin OM-28's, a Larrivee OM-05, etc... have come to stay with me for varying durations of time.  

One of my curiosities for quite some time has been Eastman OM's, in particular the E8 and E20.  I've read almost exclusively glowing reviews, although some have reported QC issues and that there can be wide swings in tone/playability from instrument to instrument.  Overall though, players generally seem to put them into a similar category as higher end instruments, which is impressive given the price point.  That they seem to pop up for sale fairly infrequently led me to believe that people generally hang onto them once procured, and that only increased my desire to try one out.  

So, when I came across a used one recently I decided to jump on it - an E20OM.  Humorously enough, a few days later, I came across another used E20OM. Of course, part of the beauty of Eastman guitars is affordability, so I decided to grab both to do an informal home shootout of like specimens.

The end goal would be to post my thoughts here, and then whichever of the two I prefer I will keep, and the other will appear on the AGF GASifieds.

Basic Information

E20 #1 has a serial number of 102xxxxx.
E20 #2 has a serial number of 106xxxxx.

While I know nothing about Eastman's serial numbering system, I'll surmise that #2 is a more recent build.  From here on out, I'll refer to them by the serial first three to avoid confusion as much as possible.

Both are obviously spec'd the same.  The Adirondack top on 102 is maybe slightly wider grained, and more consistent in color.  It is more yellow (consistent with age, I would think).  I actually prefer the top on 106, aesthetically, as it is a bit "whiter" yet has a bit more contrasty streaking in the grain.  Again, this could purely be a function of the age of 102's top/finish.

Both have straight-grained, lovely EIR backs/sides, of a similar deep brown color.  Likewise, each has a similarly finished mahogany neck, with no real figuring to speak of, although they're nice pieces of wood.  

The ebony fretboard of 102 has some brown streaks to it, although slight, as does the bridge, which is even more subtle than the board.  106 is jet black of board and bridge.

The neck carve of 102 also seems to be ever so slightly deeper/fuller than that of 106.  This is really subtle - I'm definitely nitpicking.  The fret filing on 102 also seems to be slightly smoother than on 106.  I've traversed both necks, thumb wrapping as I went, and 106's frets are not bothersome by any means.  Again, nitpicking.

Both came with very nice hard cases, 102's is alligator skin-like in texture, very lightweight but sturdy, and nicely form-fitted.  106 is a TKL, also nice, with a slightly furrier interior.

102

https://soundcloud.com/user-776359573/e20-102









106

https://soundcloud.com/user-776359573/e2...0-om-demos









Preliminary Thoughts

Beginning as unscientifically as one can, I'm going to offer some tonal opinions straight out of the box(es).  While the set-up's are similar, the strings are very different.  Both lights, but 102 clearly has some standard PB, whereas 106 has a coated variety (although not Elixirs).  So, please feel free to stop reading here if you find this to be an exercise in futility due to the inconsistency of strings.

102:  It sounds a bit older, a bit more "played-in"... but, it also feels it.  What I mean is that it seems to be a bit more resonant, you can feel a bit more of the bass against your body when strummed.  The highs seem a bit higher, the lows seem a bit lower, if that makes any sense.

106:  I suppose one could call it a bit "tighter" although it's impossible to tell how much of that is the string difference.  More to come on that.  Still, as I said, it feels newer.  Interestingly though, it also sounds and feels a bit more balanced when fingerpicked and strummed, but again, how much is attributed to the perceived tightness of the top.  I was told that this one wasn't played much, so it may very well need an opening up period.  What is interesting though, is that I perceive this one to be louder/project better when I really lay into it with the pick.  

Again, we shall see... I will be playing both of these for a guitarist friend to give me some live audience feedback as well.  Overall, these are far more consistent than they are inconsistent, and the tone of both is going to come down to intricacies very few listeners who are not avid AGF, gas-afflicted guitar players would perceive.

So, hope you enjoyed the opening thoughts.  The plan is to buy two sets of D'Addario EJ16's, restring, and go again.  Then, set up the Apogee One and record them directly from the mic into Garageband for a raw mix sound.

Stay tuned, and thanks for coming along for the ride!

6.3.16 Update: String Change

Thanks, all, for the posts.  My apologies for the delay in updating.  These guys have been sitting in their cases while life required my attention.  This morning I changed out the strings on each for D'Addario EJ16's to have a base from which to compare.  A bit of a stretch for each set and about 10 minutes of playing on each one (same songs, same order) to keep it as controlled as possible.  The new strings confirmed a bit, but also brought out some different character (not surprisingly) as well.  More on that later...

So, the plan is to get pictures up a bit later today, and hopefully do some preliminary recording - clean, dry signal, through an Apogee One mic into Garageband.

6.16.16 Update: Pictures

Greetings all... thanks to all those who've waited patiently.  

So, I'm finally getting around to the images.  They aren't the best I've ever done, but they do give a good idea of the grain patterns, color, etc...  Both of these are beautiful instruments, tremendous value.

Sound clips are in process! I'm hoping to have them recorded tomorrow, and posted by the end of the weekend.  Hehe... we'll see if that actually happens.

As a mini-update, I've been playing each one a bit and I'm struck by how they're more similar than different tonally.  Okay, that sounds ridiculous given the identical specs.  But, I feel as though I've read so many reviews that talk about the vast disparity in quality depending on specimen that I was expecting a greater swing.  

Anyway, I have my thoughts, but I will reserve commenting until I have the opportunity to post some sound clips and let you all weigh in.

6.27.16 Update: Sound

Sound clips added!  Please excuse the mediocre playing and hasty recording.  No effects (pre or post), and I used the original Apogee One as a mic for these recordings.  I'm curious to hear what everyone thinks.

After buying a new E6 D from LA guitar, UPS botched the delivery- twice.
It was supposed to be here last Tuesday (six days ago) but they sorted it wrong somewhere and it was rescheduled to today.
I checked the tracking every day (after they screwed up, the tracking always said delivery was for Monday- today) Then this morning I found a note on the front door that said they tried to deliver last Saturday.
So I stayed at home instead of going in the studio to make sure I got it- good thing- if I hadn't answered the front door in about ten seconds (which I did) the guy had slapped another notice on the door and was almost back in his truck and gone again. 
Anyway, I FINALLY have it safe in my music room and am I'm patiently waiting for it to acclimate before opening because it was pretty cold this morning- 8 degrees.
I'll keep you all posted on what I think once I get to look at it.

Hi all, I did not see any comments on this model here on the forum yet. Does anyone have any comments? I briefly had the non-varnish version for a few years ago, but I ultimately moved on from it. I probably did not give it enough of a chance, since I am so used to larger guitars.

Just curious as to why there seem to be 2 pickguards for the same guitar and some with none? Some online dealers are showing a few of these guitars but with different pickguards.
Thanks
Huw

Morning everyone,

I'm probably going to pull the trigger on an E10D or E6D soon. As I understand, Sitka will be warmer, and some describe Adi as having a more complex sound. And Adi can sound more brittle or harsher before it opens up? It's also general consensus that Adi will have more headroom and volume?

Not sure if that's entirely accurate, but that's what I've gathered. I plan on using this guitar to learn more bluegrass, and to play more lead lines. I want to install a pup in this one.

I have a few questions, and I know these are are subjective, but any feedback helps.

1. Will Adi eventually sound as warm as sitka once it opens up, or will it never be as warm?

2. In your honest opinions, do you prefer the sound of a broken in Adi or Sitka top?

3. How exactly do they sound different?

Cheers,
Jordan

Happy Thanksgiving to our forum members in the U.S.  Hope you all had a nice holiday and are staying safe.  I'm thankful for this wonderful forum, and all its members throughout the world.  Cheers and keep playing!

Greetings Eastman fanatics!

I'm brand new here, courtesy of Sasquatch.  I'm a longtime Eastman owner, beginning with an E20OM I had for many years before selling because I could never quite get along with Adirondack.

For the last few years I've been playing a 2015 AC708CE which is wonderfully warm and tame compared to the boisterous Adi of the E20OM.  But, as a longtime bassist (my first instrument and musical love), I just need more low end. 

So, my question for the experts is as follows:

I know that the E8 is the way to go as I prefer Sitka to Adi by a massively wide margin.  If Eastman made a D with Engelmann it would be game over, but alas...  I digress.

Back on point... I've listened to this comparison between the E8D and the new D28, which is incredibly compelling as to the quality of the Eastman brand.  There's also this demo, which is equally compelling.

What I'm wondering is whether the TC topped version of the E8D is that much more of the cat's pajamas? It's only $170 more or so new, but I'd rather buy used to save some cash.  Just wondering what everyone's experience is in terms of direct comparison to the traditional E8D.  Deeper tone?  Warmer?  More "broken in" sounding?

Thanks!

Greetings all. I'm a long time AGF'er (same username) and found my way over here via Sasquatch.

I'm offering up my wonderful Eastman Grand Concert. The reason is simple - I want a dread.  I need more overall bass response (I'm a recovering bassist, so...) and volume for strumming live. 

This is a fantastic fingerstyle and light strumming guitar - very responsive with the sweet Engelmann note definition and surprising depth for a GC. Here is a link to a page on my photography site with more guitar detail and photos.  Full description is below in quote format.

I'd love to do a local / semi-local / regional sale, if possible.  I'm near Chattanooga, TN, so relatively close to Knoxville, Nashville, and ATL.  I'm also going to be in coastal SC for New Years, near Charleston.  I'm willing to ship and have many years of experience packing and shipping instruments of all kinds.  I'd just would prefer not to if I can avoid it, and I will adjust the price accordingly.

I should say, too, that I need a sale - no trades. Thanks!




 

Quote:2015 Eastman AC708CE grand concert. This has a solid Engelmann Spruce top, solid rosewood back and sides, ebony fretboard, bone nut and saddle, high gloss finish, Fishman Matrix VT pickup, Venetian cutaway, slotted headstock, Gotoh tuners, and original hardshell case in great shape. The color in the first photos are representative of this beautiful guitar. The last five were taken the way they were to try to highlight the imperfections as much as possible in natural light, as well as a quick case and authenticity paper photo.

The condition is excellent, with a couple of small impressions in the top (pictured), some small swirl / scratches on the back (pictured), and some pick marks/lines that I could not get to show up in any images. The pick marks are very light, and I will use a touch of Martin polish before shipping. I suspect that they’ll “buff out.” None of them are through the finish.

The original owner had installed a Taylor pick guard since removed. The "tan line" where the pickguard was should fade over time. The pick marks referenced above are where a new pick guard would go, should you choose to install one.

The playability is wonderful - nice, low action, though not too low for light/medium strumming. And, there is ample saddle remaining. The neck is a comfortable C, similar to a Taylor neck.
 
The sound hole rosette is probably my favorite aesthetic feature - the rosewood-stained, quilted maple is gorgeous.Good volume and bass response for a grand concert body, with the sweetness and clarity from the Engelmann / rosewood combo. I have gigged with it plugged in and the subtle control knobs on the inside of the sound hole offer a variety of tone tweaking. It sounds wonderful acoustically or amplified.
 
Asking $1,000 plus shipping in the continental US, but PayPal fees are the buyer’s responsibility. There is also a Reverb recently sold photo as a point of reference.

Hello fellow Eastman-ers,

I owned a AR372 "175" several months ago, sold it.

I really do not care that much for that acoustic steel string jazz tone, in other words, the deep acoustic woody airy sound....so I was able to get a "335" in a trade of another guitar...

a Schecter Corsair Custom. It is a 335.

Great sound, perfect jazz tone, very direct pickup warm sound. But heavy as a mug, and 1 11/16 nut width, narrow.

I loved the neck and fretboard on the AR372 / 175, it was a C shape, 1.75 inch nut width, as well as the frets being low, and very low action, can get around pretty quick, lines and chord changes.

The Schecter Corsair 335 is all solid wood, center block, but has a Bigsby, which is totally un-needed.

I want to know if the neck / fretboard on the T484 is basically the same, if not the very same as the AR372, if so, (it seems so), I would sell the Schecter and grab a T484.

Plus, the T484 is 14" wide, 2" smaller, and lighter than any 16" thinline, smaller headstock, and a hard tail bridge...

Thoughts, experiences.... Thanks in advance

Hello all. New here. Proud owner of an AC522ce and a brand new E8OM-TC. Lovely guitar. Soon to have an E20-p as well. I hate colored pickguards. I would love to go without one or a clear one down the road on the OM.

Will I be able to remove all the glue residue with a bit of patience and have no discoloration or residue? Or will you always be able to tell it was there? The guitar is brand new so the top wood won’t be a different color underneath.

Thanks