The Loar 520 and 220

[gkraushaar]

I admit up front that I work for The Music Link setting up acoustic instruments at the Knoxville facility. I'm going to describe some new products that arrived this week and try not to give any endorsement or recommendation, but only objective information.

We got in the new LM 520 (f model) and LM 220 this week. These are simpler versions of the LM 600 and LM 300. Woods are less fancy, with some curl to the sides and back but basically none on the neck. The scroll on the 520 is a little more "open" in design, similar to some of the Eastmans. Single white binding on front, back, and fretboard, and none on the headstock. Headstock inlay is the usual script "The Loar" but no fern or flowerpot. Finish is poly but looks about the same as the aforementioned models.. Fretboad is rosewood. The bridge, tuners and tailpiece are identical to the more pricey models. Construction is about the same as the 600 and 300, and the sound is very similar as well. It appears that the 529 is toned barred and the 220 has X bracing.

We got a limited number of each model in this week and I worked hard setting them up. I wish I had more time to spend tweaking each one, but I do the best I can with the time I have. The best scenario is for you all to purchase these from a reputable delear who knows what he is doing in setting up a mando to your needs. Between me and your knowledgable dealer you have a good bet on purchasing a pretty good mandoln.

These models go head to head with Eastman's new 305s and 315s.

[Brent Hutto]

Except for the rosewood 'board, which I'm not particularly a fan of in general, it's hard to see that you're giving up anything meaningful with those supposedly lesser models. For my part a thinly-applied Poly finish would almost be an upgrade.

Of course the street prices for them are only slightly lower than the models they each supplement, right? Hard to see how they could be a lot cheaper as the original models' prices were so darned low to begin with...

[Folkmusician.com]

Hi George,

My post will sound a little more like a sales pitch... hehe

I received some of these before Christmas and couldn't wait to play around with them. Of course with the Christmas rush, they ended up sitting on a shelf for a couple of weeks. Now that I have set a few up, I happy to say that these are flat out incredible for the price points.

I only have one thing to add on the specs... The 520 has Grover tuners where the 600 and 700 use Gotoh. I prefer the Grover's. :)

I haven't had a 300 model for a while, though I would say the 220 is right there. I do have 600 and 700 models to compare the 520 to. For anyone needing to keep the price down, you can absolutely go with the 520 knowing you are not losing anything other than some cosmetic upgrades.

[hedgehog]

A quality plan Jane mandolin is a good idea, I can't say as the binding or the flower pot drew me to purchase my mandolin.

I think a mando along these lines with a matte finsih would be great. I'm getting sick of the finger prints and dust on my LM-600. No, thats not whinning about the LM-600. I frequently play at noon out in the bright Arizona sun. Man the dust is scarry in those lighting conditions. Being more delicate than poly I don't like to wipe the laquer down any more than necessary.

Just checked the advertised price at the Folkmusician, $449 for an F styler mandolin that plays like an LM-600, this will make a lot of budget minded players happy.

[Brent Hutto]

Man the dust is scarry in those lighting conditions. Being more delicate than poly I don't like to wipe the laquer down any more than necessary.

Are you kidding? Wipe it down often enough and you'll add thousands to its value. Didn't you hear the "distressed" look is hot?

[hedgehog]

With Arizona dust being what it is I'd have a distressed mando in a big hurry. So, when I need to I get a soft paint brush and whisk off the easy to get to places and call it good enough.

[Brent Hutto]

Yeah, the distressed thing is only good when you sell it. Wouldn't want to have it "distressed" after six months and be stuck playing it another ten years like that!

[gkraushaar]

I'd say the finish is a durable as it needs to be.

[Mike Bunting]

I'd say the finish is a durable as it needs to be.

I'd agree, seems a little anal to worry about wiping it down.

[hedgehog]

Listen guys, some of the above was a joke, some of it isn't. The dust down here is essentially sand, to properly clean most anything without damage takes some care, not monumental care just some care. I know it's some sort of sin, but I really don't mind a poly finish. It's mighty tough stuff, it won't crack or essentially destroy itself right in front of your eyes like laquer can do. Also I'm attractive to the idea of paying for a performing instrument rather than a highly ornamented one, the ol' bang for your buck syndrone. I'm not going to turn my LM-600 in for a 520 any time soon though.

[blueron]

I was a pro photographer for a long time, and the danger of turning tiny specks of dust into permanent scratches on expensive lens elements was a big worry. One of the only safe ways to avoid it was using canned compressed air made specifically for the photography business. Not great for the environment, admittedly, but there may be cfc-free versions on the market by now.....

rm

[Michael Eck]

I don't work for the Music Link, but I endorse The Loar line of products. I'm glad to see the different levels of mandolins they are now making. There will also be some new guitars coming soon that look to be very nice!

My LM600, by the way, is distressing nicely just from the sheer number of gigs it's getting used for.

[gkraushaar]

I feel I need to clarify my initial comments I made on my initial post. It might be construed from my comments about our set up procedure at TML warehouse that we don't strive for optimal set up results. What I do strive for is a "good initial setup" which results in playability suitable for the average player. By this I mean action as low as possible WITHOUT BUZZING. I want to ensure that the necks have proper relief, and that the bridge and nut slots are of the proper height and depth. I check ever fret on every string to ensure that there are no errant frets and correct by a fret leveling and polishing if necessary. As an experience guitar, mandolin, and banjo player with many years of professional and contest experience, I know what professional players want and expect in terms of set up. My philosophy on setup is that it is better to have action a little high rather than a little low, because it is easier to lower action than to raise it.

Once the instruments leave our warehouse, they are shipped in hot and cold weather across the eastern USA to dealers. Sometimes changes in action can occur during this transition which are out of our control. But I do strive to have the instruments leave the facility with action suitable for myself if I were to take the instrument on stage and perform before an audience.

Once the instruments leave our facility, they arrive at the retailer. The retailer may or may not know anything at all about setup. They might choose to do a "deluxe setup" on an instrument to dial them in even closer to their own personal preferences or a particular customer's needs. They might choose to lower the action even farther, which raises the risk of string buzz with aggressive picking. I choose not to go that far with setups unless the customer specifically requests it, because it is much more difficult to raise action than to lower it. I have bought many instruments from competent dealer/set techs whose actions are too low for my preferences, and I end up having to fill nut slots/refile or make a whole new nut, or replace guitar saddles with a higher saddle.
This is a time consuming process.

As I said previously, I try to do the best set up I can within a reasonable time frame. I usually spend at least 30 minutes with each instrument and occasionally up to an hour. I work in a well organized, methodical pattern with the goal of reaching a level of playability which would suit me if I were to be thrust on stage with that particular instrument.

[Folkmusician.com]

George,

I think your first post explained it perfectly and is quite honest. I see how this could be taken wrong from someone that does not understand what a thorough setup entails, but the fact of the matter is all factory setups leave room for improvement. This is across the board with every brand I deal with. I feel that it is important for the makers to let customers know if their setup has room for improvement. Recommending that customers buy from a dealer that is doing good setup work benefits the brand. There is a much higher rate of satisfaction. The more educated players become about the importance of the setup, the happier players will be. There are so many players struggling with poorly setup instruments that have no idea that the instrument just needs some work. The reality is that factory setups of the vast majority of imports are simply not acceptable.

As a dealer, the only thing that I am worried about is good solid construction, and that any setup work done at the factory level, leaves room for my setup work. The last thing I want is to go to setup a mandolin that has the nut filed too low, too much wood taken off the bridge, frets poorly leveled, etc... I would rather start with a virgin setup so to speak.

The Loar's hit the mark perfectly. I'll admit right off the bat that I am not satisfied with the factory setups on these, but that has nothing to do with what my customers receive. You guys make great mandolins at incredible prices, but you should make it clear that if these are not purchased from dealers doing additional setup work, "results may vary". :)

[Mike Bunting]

There is no reason to expect that a factory set up will suit everyone, it can only be a starting point. The dealer can make it playable but it will take a novice a few years of playing to understand his own playing enough to get a set up that suits him/her best to get the tone that one evolves into wanting to hear and the action etc. that they like best. At the beginning they may like a really low action for ease of playing but as their playing evolves they might find, for example, that a higher action is still comfortable while adding a little more pressure on the top to drive it more efficiently and draw out the best tone and volume possible with the instrument.

[Rick Cadger]

Great time to be buying a budget mandolin. The Loar, Eastman, Kentucky... All great quality and each has its strengths.

We're getting pretty spoilt.

[blueron]

Great time to be buying a budget mandolin. The Loar, Eastman, Kentucky... All great quality and each has its strengths.

We're getting pretty spoilt.

Dead right, Rick. I doubt if the availability of decent budget instruments has been this good for more than fifty years.

ron

[gkraushaar]

I set up several 520s during the last few days that were exceptionally pretty instruments. They had wonderfully curly back and sides and very nice staining. Several buyers are going to be especially happy, although all are very decent for the money

[Folkmusician.com]

George,

I have been burning through the LM-520 mandolins with the 220 hot on its tail. All I can say is WOW. If someone would have told me that we would soon have mandolins of this caliber at these price points, I would have been skeptical to say the least. Needless to say that I am quite pleased with these models. :)

[blueron]

George,

I have been burning through the LM-520 mandolins with the 220 hot on its tail. All I can say is WOW. If someone would have told me that we would soon have mandolins of this caliber at these price points, I would have been skeptical to say the least. Needless to say that I am quite pleased with these models. :)


The 520 and 220 sound like great additions to an already solid range. Of the whole range (220, 300, 400, 520, 600, 700), I wonder if maybe the 400 offers the best all-round value-for-money package. As a dealer who has seen many examples of all the models, can you share your thoughts on this? I am seriously considering getting an LM400 as my next mandolin (I already have an F model that I am happy with), and would like to hear what you think its place is relative to the others in the The Loar range.

ron

[Michael Eck]

Blueron,

I'm not a dealer, but as a 400 and 600 owner I can tell you that the 400 is very versatile. The 600 (at least in my case) has more of what would be considered a bluegrass bark, and it has a tad more volume, but the 400 seems to work in almost any application. I have used it in a jug band, an old time duo, accompanying a singer/songwriter and playing in a rock band and it has been great for each application.

I do use it with a toneguard and an armrest, which helps let the body breathe.

Also, for the record, I think the tuners on the 400 are the best on any mandolin I've owned.

[blueron]

Thanks, Michael. That's great feedback. There might well be an LM400 in my near future, so long as I can solve the supply issues inherent in living in Bangkok and only occasionally visiting the U.K., where The Loar's sales availability is next to non-existent. Just about the only supplier I can source in Europe is the Thomann website, and it doesn't stock the LM400, only the LM300.

thanks again,

ron

[Folkmusician.com]

Ron,

I am a firm believer that A models are just as good as comparable F-styles, and you almost always pay less. That is not 100% the case with The Loar's. You do pay less, but these are not quite there with the F styles. The 600 and 700 models have something that the A models lack. Like Michael mentions, the 600 and 700 have a bit more volume to them and a slightly richer tone. The Grover's on the A versions (and the 520) are incredibly smooth. They actually win out over the 600 and 700 in this area.

The differences between the 300 and 400 are much the same as the 600 and 700. The 400 is more open sounding than the 300. There are no tone bars on the 400 and X bracing on the 300. The 400 has heavier flaming on the maple, the Fern inlay, and a nitro finish. The 300 has a flower pot and thin Poly finish. No one like to hear "poly", but it does not seem to hurt the tone on these. Before the official press release of the 300 model, there was a batch made with Nitro finishes. I ended up with a good portion of these, and later the Poly versions. There was no discernable difference in tone. These do not look like they were dipped in plastic, like many of the imports. :)

I received the 220 and 520 models just before Christmas, but was slammed with orders and didn't get to them for a while. After getting around to setting them up, I have to say that these are my current favorites at these price points. Dropping down to a 220 you are not losing much of anything as far as overall quality and tone. The maple is on the verge of being downright ugly, but it does sound good. :)

The necks on The Loar's are undergoing some minor changes. My mind might be playing tricks on me, but even the latest 520 necks seemed to have slimmed down from those I received in December.

If you ended up having to get one from the US, it runs around $80-$100 for USPS express mail.

[blueron]

Robert,

Thank you for taking the time to spell that out in such fine detail. I am all the more tempted now. Shipping one in would work, of course, but customs duty here is SO arbitrary, and if the shipper declares the real value (which I completely understand is a legal necessity) then the duty could add another $200 or more.... I might have to settle for an LM 300 when I'm in Europe, where there is no duty charged within the EC. But that darn 400 is soooo pretty!

Thanks again,

ron