Derrington signed Master Model in Classifieds

**wantaloar** · Mar-01-2006, 2:09am

After talking to Big Joe I was really surprised to hear that fewer Master Models have been made in the last 5 years 2000-2005 than the 3 years of the Loar period1922-1924. I think he said less than 100 Derrington signed. We are so lucky to be in this new golden age of builders. From what I understand Charlie is no longer signing any mandolins (not that they are of any less quality), but he is the closest thing we have seen to lloyd Loar in the past 80 years at Gibson. I can only imagine what these mandolins may be worth in the future with his signature. I 'm sure we all have a loar story or two about how we could have gotten one for what we thought was out of reach at the time but proved to be an incredible investment now. Im sure glad I've got mine. Any Comments?

**woodysny** · Mar-01-2006, 1:47pm

And, I am happy that I have mine. But $14,500 sounds like a lot of dough for an only "slightly distressed" Master Model. Personally, I hope they get it.

**Links** · Mar-01-2006, 1:54pm

I doubt that the "Derrington's" will be significantly more desirable than the other current signatures, but then again you never know.

**mandopete** · Mar-01-2006, 2:01pm

Collector's math:

Scarcity + Want = Price

**Rich Michaud** · Mar-01-2006, 4:14pm

I have a Darrinton signed Master Model that I may part with. I have a few others to play and the loss will not kill me. My price would certainly be less than the 14.5k because I bought it for less. If MAS for a MM is seriously afflicting anyone, contact me for a possible fix. Rich Michaud

**Glassweb** · Mar-01-2006, 4:34pm

Sorry, but I beg to differ! Although Steven Gilchrist has never worked at Gibson, I feel he is the undisputed heir to the Loar throne. Steve is not only the greatest mandolin builder of our time - he is the greatest mandolin artisan of ANY time! Not to mention the fact that he's an incredible artist, our Loar guardian, surfer, kick-butt mandolinist and just the nicest, most humble guy to boot! And watch out... cause his best is yet to come!

**Rich Michaud** · Mar-01-2006, 4:48pm

Gils are great-I have one and sold one. So are Nuggets and Monteleones to name a few. I recently found a 1979 Monte that is a fern copy that is a great BG instument. My Brentrup likewise is special...There are some wonderful luthiers out there and the best is yet to come from each of them.

**flatthead** · Mar-01-2006, 4:52pm

Rich:

I hope you didn't sell the one *I* wanted!!

Jim Rollins

**John Flynn** · Mar-01-2006, 5:15pm

Any comments, you ask. I know two guys who have big, rare Martin guitar collections, but hardly ever play. Each to one's own, but I can't see it. I buy 'em to play 'em, not to look at 'em or use 'em for an investment. The minute I get the idea I'm being asked to pay a dollar extra for a nameplate, a signature, a trend or anything else that has nothing to do with playability or tone, you can have it. There are just too many outrageously good builders out there now to put up with any of that. Look at this way: People like me keep the price down on that Derrington you want, so maybe you can afford one some day!

**Rich Michaud** · Mar-02-2006, 3:37am

Hey Jim-I sold to a close friend a Gilchrist that I bought from Mike Orlando. Frankly, I did not recall that you were interested in it. I did not list it for sale. Had I recalled that you were interested, I would have contacted you. I hope to jam with you again-are you going to Merlefest? Rich

**kudzugypsy** · Mar-02-2006, 5:44am

the way that Derrington signed mandos get to be future collectibles is when the quality goes out the window and people start hunting for them. if they keep up the quality, then it wont make a big difference who signed it - Danny is a GREAT player too - and i think the new ones are getting better...i personally wounldnt buy an early MM because there were still some things they hadnt got right yet - the new ones are *closer*

**flatthead** · Mar-02-2006, 8:59am

Rich:

I'm hurt....Why didn't you read my mind?

The one I liked was the one you had just got...like maybe a few months. #It is "Holy Freakin cow" Good.....

**jaydee** · Mar-02-2006, 9:23am

I think that the sound of the Derrington MM's, while terrific, is not what will make them valuable. Scarcity will help, if there are indeed fewer than 100 of them, then you're talking about a seriously rare instrument, especially since he won't sign any more presumably. What, I think, will really boost value is the narrative behind them. After all, this is the guy who rebuilt Monroes's instruments, and the guy who is largely credited with the quality that Gibson has returned to. Not to mention the history of the company itself. That makes the each of the Derrington's historically important, and more valuable potentially. There are many great makers around right now, but none with the narrative behind them that Gibson has. Of course, this is all just me speculating, and nobody can really say for sure just what instruments will become valuable, this is just my guess.
Jeremy

**Links** · Mar-02-2006, 11:34am

Jeremy"

The reason the Loars are so valuable, as you probably know, are not just because of Loars signature, bur because of the sound and the rarity. The value of subsequent mandolins go down because the perception is that the quality, sound, and desirability of the later 20'a instrument is inferior to the Loars. Whether it is true or not I don't know, but supposedly the graduations in the tops, and other details that affcet the sound and playability, although good, was not the same as the Loars.

If the Danny Roberts signed mandolins or those signed later by other craftsman are better than the "Derringtons", then I suspect that they will be more collectible (valuable). Charlie's contributions are well documented, but his name alone (even with the rarity) IMO, will not make them any more valuable. (Of course there is the possibility that I am totally wrong)

**Tom C** · Mar-02-2006, 11:48am

Personally, I would prefer one signed by Charlie. Not for a value reason, but for his judgement in signing off on the instrument and giving his approval.

I f I had to buy one sight unseen. I would trust Big Joe to pick it out for me regardless of who signed it.

I know who these guys are and their credentials. I never heard of Danny Roberts (No offense) before he started signing them and playing with Grascals.

**tiltman** · Mar-02-2006, 12:13pm

I agree with Links that it was the combination of the Loar signature and the subsequent (perceived, and later real) decline in quality that drove the demand for and price of the Loars. Unless there is a dramatic decline in quality in the Roberts signed mandos....
But I do think that people that have Derrington signed Master Models are hoping that they will take off in value.
As an aside, I have a Bruce Weber signed Gibson Varnished Fern. I think it's a cool piece of mando history (and a nice mandolin) but I doubt that it will shoot the moon in terms of value.
Kirk

**Flowerpot** · Mar-02-2006, 12:55pm

From Rich M... "My Brentrup likewise is special..."

Yep, and if you ever decide to let it go, I've got dibs, remember? That one still sticks in my mind.

As for the C. D. signed MM's, I have always thought that they may be quite collectable, but if Gibson maintains a high level of quality, then their value will be diluted (Loars are all the more valuable because of the quality drop-off post Feb 24). All signs point to some continuing good stuff coming out of G, but who knows what will happen in the world of business. If they were to suddenly begin outsourcing their high end mandos, or something like that, suddenly the CD (and probably DR too) signatures are worth a lot more.

**Mandoe** · Mar-02-2006, 1:23pm

I've got a Derrington-signed MM. I love the way it sounds/plays, although I've played some DMM's that, to me, sounded more Loar-like.

Don't know whether the CD-signed mandos will be collectibles. I hope so. Do know this however: Practically every mando player I've ever let play my MM has noticed that's it's signed by CD. There is something about it.

The same feeling, I guess, I get when I hold a Gil or Dude or Monte or Nugget. There's an emotional tie that's hard to deny.

Brad

**jaydee** · Mar-02-2006, 2:37pm

[QUOTE] Links, 2/06
The reason the Loars are so valuable, as you probably know, are not just because of Loars signature, bur because of the sound and the rarity.

Links,
I think you are right, but, not all of the Loars have "that sound", but they are still valuable instruments, because of rarity. As I understand it some of them fall far short of "that sound". Also, if CD signed less than 100 MM's, then those instruments are fewer in number than the Loars. So then shouldn't those MM's be destined for astronomical resale values? Of course I'm only guessing, but I think that with so many incredible sounding instruments around now, the backstory makes the difference. In that department the CD MM's (so many abbreviations) are tough to beat. Don't forget, if Big Mon hadn't played one, the Loars might be considered exceptional specimens of sound, but would not fetch the prices thay they do, or probably wouldn't anyway. What I'm saying is that the "mythology" (by this I mean the enormous proportions that the Loar story has grown to, not that it's not true) contributes greatly to the current value of the Loars, and CD MM's have a place in that "mythology" that no others do, period.
But, I'm only guessing.
Full disclosure: I have one of these instruments and while I don't plan to part with it, It'd be fun to see it become an example of a sought-after mandolin.
This kind of wild speculation is best done over pints. If anybody in philly area is interested, I think it would be a blast to sit around and jaw about this topic for a little while. I'd mostly want to listen.
Jeremy

**Rich Michaud** · Mar-02-2006, 3:52pm

Hey Flowerpot-you have dibs on the Brentrup if I ever sell it. Rich

**Jasper** · Mar-02-2006, 5:53pm

Gibson over the last century or so has made a lot of mandolins, probably tens of thousands, and they are all collectible now to varying degrees. But when they were bought, the buyer probably didn't think that his or her mandolin would be worth a hundred thousand dollars in say 80 years. Even if the Gibsons we own now become outrageously valuable beyond the $$ we have paid for them, most of us didn't buy them as collectibles, but as instruments to be played...and "distressed" over time. There are about 50 Gibson F5-fb models like the one I have out there from 2003-2004, and right now the asking price for the one in the classifieds here is about $500 less than the new price. They are great mandolins, but by the time mine may really become valuable, I'll be in my 80s...I just hope and pray that I am blessed to be able to still play it by then!

**wantaloar** · Mar-08-2006, 4:09am

Well Thank You for ALL of the input. It seems like we have established our Derrington Master model High and Low price. The Master model at $11,500 didnt last but 3 days so it seems to me that is the low and the $14,500 that is still out there seems to be the high. I called on the one for $14,500 and it is on consignment, so that tells me that the dealer is getting his 15-25 % mark up so that puts that Derrington at $12,325 to $ 10,875 for the seller. Not too far off from the $ 11,500 firm that is no longer out there, It would be interesting to see what that seller actually got for his $11,500 mando. maybe he would be kind enough to add some input. I still believe these Derringtons are going to take off at some point with all of the history and Quality that is being poured into them. You cant deny Charlie has certainly brought true respectability back to the Gibson Co.

**woodysny** · Mar-08-2006, 3:46pm

The 2001 consignment has been reduced to $12,9000. More reasonable for sure. Time to make a move!

**Rich Evans** · Mar-09-2006, 7:06pm

I went by Guitar Showcase today and was able to examine and play the Derrignton signed Master Model. This is a good looking mandolin with great top wood. The neck and sides are flamed more than the back, but still good looking. It definetly has the old Gibson Loar look. The mandolin has great well balanced tone all the way up the neck. I am sure it will only get better with age.

To my way of thinking this mandolin is well worth the reduced asking price of $12,900 when you consider the cost of a new one, which won't be signed by Charlie Derrington. These mandolins hold their own with most of the high end custom builders products, plus have the Gibson Heritage. I know you won't find a Gilchrist or a Nugget anywhere near this price

I should mention that the only reason I am not seriously looking to purchase this one is that I already have a Derrignton signed MM.

This will make someone a very good instrument