Where are Eastman Grisman DGM1 mandos made? Overseas or USA?

[jtsc]

I'm a fan of these instruments and their work with David Grisman, and am considering purchasing a DGM1 Giacomel model. However I would hope these particular models are manufactured in the USA. Does anyone know where they are made? Appreciate any info provided.

thx,
JTSC

[PJ Doland]

They're made in China.

They are copies of designs by Corrado Giacomel, who is an Italian luthier.

[jtsc]

PJ, thanks. I know they are Giacomel copies and they appear to be nice ones but alas, I would have hoped these instruments that are made in partnership with David Grisman would be made here in the USA. Bummer.

[blueron]

If the issue is only where they are made, then it is a closed subject, since they are, and always have been, made in China. However if the actual concern is how good they are, then I think you will find they are very well thought of by very knowledgeable people (some of them on this forum). I have spoken to several people with decades of experience of high-end mandolins, who swear the Eastman DGM1 is a real keeper, worth every penny, an instrument that will stand comparison to anything in its price bracket, no matter where it is made.

I love how they look, and funds permitting, could be seriously tempted....

ron

[allenhopkins]

Eastman has been interested in getting suggestions from US musicians and collectors on instrument design. For example, they've been collaborating with John Bernunzio here in Rochester, on design of an open-back 5-string banjo, which they've just begun selling.

I own both a DGM-1 and a DGM-2 (Bacon copy), and they're excellent instruments for their prices. Doubt Grisman or anyone could have found a US manufacturer who could provide them at their current price points.

I try to "buy American" when I can, but haven't found a US-made instrument of equal design and manufacturing quality for the same amount of money. Unless one were to buy a Giacomel, for $12K and up, one couldn't get that particular design other than through a Chinese-made Eastman.

[greg_tsam]

This seems almost like you're trolling for someone to ask if you tried searching for it but I'll resist the evil urge to join the dark side. Try using google. It's your friend on the worldwide interwebz. Here's some links for you.

http://elderly.com/new_instruments/items/DGM1.htm

http://www.giannaviolins.com/mando/DGM.html

http://www.dawgnet.com/eastman-mando...mandolins.html

http://www.acousticmusicworks.com/DG1-4152.html

http://www.firstqualitymusic.com/c_348/p_EM-DGM1.aspx

http://www.indianaguitarman.com/item...dolin-DGM1.htm

Additional Info.

http://www.eastmanguitars.com/david-grisman-models/

http://www.eastmanguitars.com/dealer-locator/

[Josh Kaplan]

Folks in Italy are probably put out that they're not made in Italy by Italians!

[PJ Doland]

I have no financial interest in this auction, but if you're looking for one and you want to save some money on one with a few small scratches, check out this eBay listing.

[Eddie Sheehy]

I have a DGM1, a DGM2 (probably the the most underrated of the three), and a DGM3... unbeatable for the quality at their price...

[greg_tsam]

So what makes them good? Is it the sound, the playability, the fit and finish? I've never seen one live.

[allenhopkins]

So what makes them good? Is it the sound, the playability, the fit and finish? I've never seen one live.

What I like about my DGM-1 (and, of course, YMMV):

1. Very interesting and nearly unique silhouette; an "outside the box" take on the F-model, with a quasi-scroll "strap hanger," ebony pickguard and tailpiece, interestingly carved headstock. Not all that dissimilar to the "F-mutant" mandolin in your avatar...
2. Nice construction: close-grained spruce top, highly figured maple back and sides, what looks like a bird's-eye maple neck, rosewood overlay on the back of the headstock, ebony on the front, double-side-bound front and back. Fit and finish are top-notch. Pronounced recurve around the rim of the top.
3. Sounds clear, with treble emphasis, not the "woof" of a true bluegrass mandolin, but a voice that cuts through other instruments. I use it as a "general purpose" instrument, but it can hold its own in bluegrass if you can do without a bass-y "bark."
4. Neck is quite playable, not deep, "V-ed" a bit with a shallow radius on the fingerboard.

Not for everyone. If you want an iconic bluegrass instrument, probably not your cup of tea. If you like having a distinct voice that's recognizable, and appreciate being audible without having to "dig in" too hard, I think it's a good choice. I paid just a bit over $2K for mine, getting a "deal" from John Bernunzio, and haven't regretted it. Owned mine almost exactly three years now.

[Greg Allen]

Allen,
I just bought a used DGM1 and it is very nice. What strings have you found to be the best for this mandolin.

[Eddie Sheehy]

I use TI Starks on my DGM1 - but they're not to everyone's taste... for that matter I use TI Mittels on my DGM2 and TI 164 on my DGM3.

[Tristram]

Just found this awesome article:

http://www.acousticmagazine.com/inde...-mandolin-dgm1

[Tristram]

So what makes them good? Is it the sound, the playability, the fit and finish? I've never seen one live.

This is an old discussion, but I'll join in.

The sound is powerful and rich, it has immense volume and responsiveness. It's so loud I actually heard that worrying faded ringing sound you're meant to hear when you've lost the ability to hear that particular frequency. Several times. Within the first week I had the mandolin, man I had some headaches. Taught me to play a lot softer. Which is where it's responsiveness comes in. Hammer on's and fingertaps and slides, all those subtle little noises which can get lost on a less resonant instrument are all evenly resonant and powerful. This thing sounds amplified sometimes, and produces an incredible range of tones from brassy-horn growls to electric guitar squeels. It can do just about anything you want it to. But it doesn't sound traditional. The LaBella strings give it a more mellow voice. But still it has a very unique bounding roar which I've yet to hear on another instrument in person.

And even-ness is another thing about it. All of the strings have a equal richness in tone, and are super beefy. Just restrung mine with J74's (coated), and still breaking it in after several months.

My only one complaint is that I can't transfer my LR baggs radius from my Eastman 905D, the clamp doesn't fit, the body is just a little too shallow. I'll have to get it internally installed at some point, so for the moment, am not able to plug it in.

Highly recommend the instrument. For me it provides a much needed education in dynamics, because I now have an instrument that's responsive enough to allow me to experiment with them to a huge degree.

Plus it looks and feels divine. Silky fingerboard making it all the easier to fret. Personally, it took me about four months after seeing the shape before I liked it. Read similar accounts. The shape is so alien and strange, it's little wonder. But I wonder what the strat or tele guitars or even the f-style mando looked like when that design first emerged. It's now ubiquitous, but on first arrival must have seemed very, very strange. I wonder if the same thing will happen with this wonderful
cubist hoofed-box of a thing.

[blueron]

My only one complaint is that I can't transfer my LR baggs radius from my Eastman 905D, the clamp doesn't fit, the body is just a little too shallow. I'll have to get it internally installed at some point, so for the moment, am not able to plug it in.

Tristram,

I have the LR Baggs Radius, and though I haven't experienced this problem, I bet it could be easily overcome. I think the violin-rest-style bracket is a standard gauge, and that any music shop selling a range of violin chinrests would be able to some up with a new bracket (perhaps for a smaller than full-size violin) that allows you to attach the Baggs to your mandolin.

Alternatively, an engineering shop could extend the threading on the brackets so that the adjuster can tighten a few mm more, solving your problem.

ron

[jim simpson]

I got to play one at the last guitar show I attended. I was pleasantly surprised and pleased at the tone and volume. I would have considered it had my budget permitted.
I wish Easton would consider a version of the Monteleone Grand Artist like the once offered Kentucky copy.

[Tristram]

Ron, thanks for the suggestion, worth checking into. There's also the added bonus of keeping the pick-up invisible, once it's inside. But the external option remains more cost effective - I would not attempt the intsallation myself, can see too many places for imbalancing the instrument.

Jim, seeing the DG1's pop up in the classifieds for around $2000 (sometimes as low as 1800 if memory serves correctly). Great value IMHO.

But agreed, a budget version of the Grand Artist would be a treat. The Mandola copy popped up recently, somewhere...

[almeriastrings]

Tristram,

I have the LR Baggs Radius, and though I haven't experienced this problem, I bet it could be easily overcome. I think the violin-rest-style bracket is a standard gauge, and that any music shop selling a range of violin chinrests would be able to some up with a new bracket (perhaps for a smaller than full-size violin) that allows you to attach the Baggs to your mandolin.

Yes. This method also works with armrest brackets, most of which are simply based on standard violin/viola hardware. In this case, take a look at some 3/4 size violin brackets. If the difference is not great, shortening the threaded sections can also do the trick.

[Capt. E]

I find the DGM2 "Bacon" inspired mando most interesting. The Bacon "Artist" is a very rare instrument and I have heard great comments from those who own one. I sold D. Grisman a Bacon "Amateur", the lowest priced-entry level mando made by Bacon around 1925. I've been looking for DG to have one of those built. I feel sure a modern version would be a great improvement as the vintage one is rather heavily built.