Just my opinion of Eastman 305 vs 505

[Br1ck]

Just as we eat with our eyes, so too do we listen with them. Really a hard thing to divorce one of our senses from the rest. I'm a firm believer that if our eyes are delighted, our experience is inhanced. I would never tell someone to buy a 305 over a 505 unless it were purely a monetary need, and a 305 is certainly a far better instrument than was available in years past. I'm truly impressed by the likes of 305s and KM 150s these days.

I'm continuing to marvel at my MK as it gets more playing time and age on it. I doubt either Kentucky or Eastman would send an instrument out into the world needing so much work, but even those need attention.

Rob's book is so important if you are going to troll the low cost waters. Not likely to find a diamond, but a polished topaz is not too shabby.

[OlDanTucker]

I had an early 515 that I bought in 2008. There were three Eastman's (Eastmen?), an 815, a 615 and two 515's hanging on the wall. I was astounded at the difference in sounds. The 815 was sweet and had a clear top end, but not much bottom or chop. The 615 had a great chop, but no top end projection. One 515 sounded muted, no chop, and strident top end. The last was just --loud -- by far. Great mid projection, but not a strong chop, and that's what I went with.

Some minor setup work made a *huge* difference. Just moving the bridge a bit really opened it up. And yes, strings and picks and learning better technique.

Kept it for years because I liked it better than anything I could find until you got into the $2500 plus range. Every year I would stop at Fiddler's Green and play what they had, and yes, there was still a huge difference in the "characters" of the instruments. Same thing but less so with the Kentucky's. But I also got to play some of the higher end instruments and knew I was growing out of my starter Mandolin. Saved my Pennies and bought a Pava. I couldn't be happier, but it's been quite an adjustment. Just the thicker frets and woofy G string have taken a couple of month's to get used to.

I pulled the old 515 out of the closet a couple of days ago and played it for the first time in a couple of months. You know, it's not a bad instrument... Not going back... but it's fine for a festival banger. They are such individuals these little demons we play...

[Mandoplumb]

Brick's last post reminds me when I was needing a mandolin due to some unusual circumstances, I was down to one beater. Afriend of mine (who is blind) had an early one from a certain builder. His sounded great but was very rough to look at. My friend was trying to talk me into one, which he did but the builder had gotten much better with fit and finish. Once he told me that when he bought an instrument he went on sound, he didn't care what it looked like. Now I wouldn't hurt him for the world but to me that was funny and I laughed out, he told me even if he could see the looks wouldn't be important and you know what, I really think he's right, but I still probably wouldn't have bought one if builder hadn't gotten better on looks.

[Br1ck]

LOL. But really, is there anyone out there, sound being equal, that wouldn't pick a highly figured maple back over a plain one? Makers have long known they can comand prices far in excess of the cost of more figured wood, and that the rewards reaped by using this wood along with binding and inlay, plus great sound, are many.

Now, bear claw on spruce guitar tops used to be a detriment. Only tight straight grain was desirable. I have an old (1970) Guild D 35 that has a lot of bear claw. I know it was thrown into the pile for the cheaper model because of it. Now some makers charge extra for it. Go figure.

But heck, anyone can appreciate a pretty mandolin. See their eyes glaze over if you start talking bracing patterns. Reason enough to buy a nicely appointed mandolin if you can afford it. Certainly my 505 was a visually appealing mandolin that also performed it's task nicely.

[Cary Fagan]

Pretty wood is nice for sure. In fact, the Eastman is much prettier that way than my Passernig. Stefan Passernig, especially when he was starting out, had little interest in spending more on fancy wood and mine is quite plain. However, the fine build quality and especially the sound more than make up for it.

[Joey Anchors]

I tend to like the more plain style.. I think that's why I liked the MD404 so much.

[ollaimh]

I had an early 515 that I bought in 2008. There were three Eastman's (Eastmen?), an 815, a 615 and two 515's hanging on the wall. I was astounded at the difference in sounds. The 815 was sweet and had a clear top end, but not much bottom or chop. The 615 had a great chop, but no top end projection. One 515 sounded muted, no chop, and strident top end. The last was just --loud -- by far. Great mid projection, but not a strong chop, and that's what I went with.

Some minor setup work made a *huge* difference. Just moving the bridge a bit really opened it up. And yes, strings and picks and learning better technique.

Kept it for years because I liked it better than anything I could find until you got into the $2500 plus range. Every year I would stop at Fiddler's Green and play what they had, and yes, there was still a huge difference in the "characters" of the instruments. Same thing but less so with the Kentucky's. But I also got to play some of the higher end instruments and knew I was growing out of my starter Mandolin. Saved my Pennies and bought a Pava. I couldn't be happier, but it's been quite an adjustment. Just the thicker frets and woofy G string have taken a couple of month's to get used to.

I pulled the old 515 out of the closet a couple of days ago and played it for the first time in a couple of months. You know, it's not a bad instrument... Not going back... but it's fine for a festival banger. They are such individuals these little demons we play...

yeah, there's a 515 at my local pawn shop. it surprised me how good the mid range punch was. it does have ok chop as well. i used to dis eastman's a s asian crap but i have to stop. they are surprisingly good.

[allenhopkins]

...i used to dis eastman's a s asian crap but i have to stop. they are surprisingly good.

+1 there. As a 40-year mandolin veteran, I'm really happy that there are affordable quality mandolins available now –– mostly or all Asian-made, of course -- Eastman, Kentucky, Loar, JBovier, etc. etc. When I started, after dodging the local Allosaurus to get to the music store, it was used Gibsons (if you could find them), maybe a Martin Style A or two, otherwise Harmony Montereys or whatever relics of prewar building you could find. When the first Alvarez F-model arrived locally, it was "Wow! Someone's starting to make half-decent F mandolins again!"

You kids don't know how easy you have it. When I was young, I had to walk two miles uphill to school, then two miles uphill to get home...we couldn't afford air, so we took turns breathing...grumble, grumble...