Sam Bush thinks this is the best sounding Loar he has played. Others have had similar comments about it. No financial interest here, just passing info along. This apparently is a very special sounding Loar, and it is extremely unique.
The areas under the nut that look like cracks or wood splices are not. They are just unusual grain lines.
Hopefully this Fern will end up in the hands of a pro, so we can see it out and about and getting played, as opposed to a collector...
Not many players can afford that.
John H. Duncan
Fiddle for Buncombe Turnpike
Maybe you can get one of those "car deals" to buy it. Like 0% interest for 10 years would make the payments about $1740.00 per month. While that sounds like a lot many make that kind of a payment on a house or a fancy car. I have yet to find a house or car I could pick and sound that good.
It had some little things going on, (repairs or such on the binding, something funky with the scroll) but in really great condition. Note...Im not a repair guy or pro player, just a guy that likes mandos and guitars, these are only observations.
Mojo yes sir! It had the feel, sound and smell.
From some of these pics, it looks like this might have an overspray of lacquer..... yes... no .... ?
It sure looks right to me.
Just to add to the speculation, I believe somebody other that Gibson (contract shop, or a person brought in) did the finish on the earlier light colored ones...and that they went throught the lengthy violin style varnishing
When you say the earlier ones, how much earlier are you talking... all the way back to '22 ? There seems to be quite a change in color happening in '23... and then of course the continuation through to the dark '24's....
Given the passage of years, and your observations, how do you think the various finish experiments, or treatments have held up compared to one another...? We all know how the later Ferns have held up.... with significant shrinkage cracks, and checking... not so great....
When you say the earlier ones, how much earlier are you talking... all the way back to '22 ?
No. I am basically referring to the 72205-72210ish ones. Mostly in Feb 23. There is something very different going on with these
Also, most, but not all of the '22's look fairly typical and not like the aforementioned. There are some light colored individual one, but most look normal
Darryl, your knowledge of detail never ceases to amaze me. I am reminded of the time you told me the year of my D18 from a picture you saw of me holding it. I am very familiar with 72210, and play it with some regularity. Only after you mentioned it, but yes the finish is different than the usual Loar. I once played 72211. It is very different than 72210 in terms of color, finish, wood selection and sound. I bet they have different FONs, even though consecutive serial numbers. It also is a very light color, like a couple of 1922s that reside in California.
A wrong note played timidly is a wrong note. A wrong note played with authority is an interpretation.
Consecutive numbers don't mean they were finished by the same master craftsman. Could just be two different guys putting it on.
That Feb. '23 batch is really light but some light finishes show up in other dates too. The lightest Loar I ever saw was 75848 and it's a March 31, 1924.
In another thread, Ken W. made the provocative (his words) statement that he believed that this mandolin went back to the factory for the Fern inlay in '26. That would of course place this in a nonfern category.... I looked through the archives as closely as the photos would allow, and could only find one possible piece of evidence for this... a small fern tip difference, which Darryl could explain by the black paint on the peghead obscuring the MOP. From my examination then, I cannot support Kens contention... at all. I believe that this "question" that Ken raises is an important one, if anyone else in the world takes it seriously. This is an historical instrument. Has anyone else critically looked at this inlay with regards to Ken's assertions ? Or for the most part, has this community dismissed Ken's suggestions as baseless...
It would be great if Ken would offer his evidence... for such an important provocation.
It seems to me that some other possible explanations are a bit more probable, but then none of us were there so it's hard to really be sure.
Stamp numbers (under the loar signature label!) would sure help untangle the mysteries a bit more. Joe's book makes a pretty good case that the stamp number is indicitive of the BUILD date, and the serial is indicitive of the shipping date.. then again, the dates that are signed onto the Loars could very well not match *either* of those..
George gave me a call last night to let me/us know the price has been lowered. $190,000
Great, now I only need to come up with the other $186k... or if I trade in my mando $181k... actually I just put an offer on an old house out here for less than half of what that mando costs! Still I think it would be worth it...
- 2004 Macica A
- 1952 Selmer Centered Tone
- Eastwood electric mandola
(and lots more)
Hey, maybe we can talk Steve Martin into buying it and then letting each of us borrow it!
I seem to remember F5 saying something like.... the first $175 k will walk home with this instrument.... getting close to his prognostication... just get to the seller, who was indeed the guy that had the "advert" on ebay, they confirmed that to me...dodge the commission, and make the sale at F5's asking price... this really opens the eyes to the economy and the state of vintage instruments... this is a significant Loar, in really nice shape, with perhaps one of the best voices around, according to those in the know.... and there is sits.