F-4 vs. f-5

[Martyweir]

What are the sonic differences between an F-4 & F-5 style mandolin? I've played a few nice f-4's and I notice a distinct tone differenct from most F-5 style mandos, but I can't quite pinpoint what it is. I've never played one in a jam environment. What's the chop tone like? Will an f-4 cut through like a f-5? Just wonder why you don't see too many f4's at bluegrass jams?

[JEStanek]

Look specifically here (http://www.mandolincafe.net/cgi-bin/ikonboard.cgi?act=ST;f=7;t=28186;hl=f4+and+vs+and+ f5) or browse these. (http://www.mandolincafe.net/cgi-bin/ikonboard.cgi?act=Search&CODE=02&SID=46154f6a56806c22)
The over simplified answer is the oval hole doesn't cut or chop like an F5 its got more sustain and a atubbier tone. Bill Monroe didn't play one most of the time... that's why you see more F5 than F4s or even A5s at Bluegrass jams.

Jamie

[MikeEdgerton]

Just wonder why you don't see too many f4's at bluegrass jams?

I suspect that the number one reason might be that Bill Monroe played an F5.

[red7flag]

If you go to those other threads or try both and AB em, you will understand. The F4 especially a 12 fret like mine that is attached to the body, does not chop and has more sustain. As such, it has trouble cutting through a loud jam. It has plenty of volume, just not much cut and tend to get overwhelmed. It is a beautiful sounding mando though. It tend to be better solo or in duets where it can shine through. Another deal is that as it sustains more, the notes of a fast song can kind of run together, giving it a bit of a "muddy" sound. But on the positive side, it tend to sing more.
Tony

[allenhopkins]

F-hole mandolins, like arch-top, f-hole jazz guitars, have a sharp attack and rapid decay; round-hole mandolins don't have the sharp "bark," but sustain and ring longer.

The off-beat "chop," which has been described as taking the snare drum role (if bluegrass bands used a drum set), is ideally suited for the f-hole sound. And the sharp attack allows the bluegrass mandolin player's solos to be heard alongside instruments that are generally louder (i.e. that Mastertone banjo over there).

Jimmy Martin's band used an F-4 (there's a thread about that elsewhere), and I recall seeing Joe Val picking one with the Charies River Valley Boys (before he got is Loar), Barry Mitterhoff with a 3-point F-2 in Bottle Hill -- and of course I started out playing first an A-1, then an F-2 in my old band, the Flower City Ramblers. But honestly, the f-hole mandolin is just about ideally suited for bluegrass. Doesn't have to be an F-5, of course, but it generally is.

[johnhgayjr]

Here's a link to Mike Compton's site with video describing / comparing his Gilchrist F5 and F4 mandos. #Good stuff.

http://mikecompton.net/index.php?page=gallery

[red7flag]

Mike's F'4 has a raised fret board and he describes it as an F4 on steroids. I should be noted that he usually uses his F5 Gil when playing with Nashville Bluegrass Band. I have only seen him play the F4 when playing duets or when teaching. That F4 is awesome, but not the tone of what you think of with a teens Gibson F4. To me a really different animal.
Tony

[Martyweir]

good stuff, thanks for the links / opinions guys!