Gibson Master models

[Dennie King]

I have a 1988 Gibson F5L, made in Bozeman, signed by Steve Carlson, with silver tunners, laquer finish, Master Model label inside and fern pot inlay on head. I have asked this great group some questions before and I thank you very much for the info you have passed on.
I am still trying to understand what the difference in sound and value a more recent Gibson master model and my model would be. If there is a difference in how they were made at what year would that difference have begun? I am getting little bits of information from here and there but can't think of a better place to ask than right here. Thank you in advance for your help and patience. Dennie King

[Chris Biorkman]

All Gibsons have a label inside them that says Master Model. There is an actual model called the Master Model that Gibson has made for the last eight years or so. It differs from what you have in that it was built as closely as possible to Loar specs. It uses hide glue, an adirondack top, a varnish finish, and has a dovetail neck joint amongst other details. They are considerably pricier than the F5L and the current Fern model.

[John Kasley]

From interview with Charlie Derrington of Gibson OAI:
(Entire interview here: http://www.mandozine.com/resources/CGOW/derrington.php )

"The reason all Gibson mandolins have the Master Model label is a bit cumbersome to explain. But I'll certainly give it a try.

Gibson invented the F-5. The Master Model instruments originally included the H-5, L-5, F-5, and K-5. Of course the H-5 and K-5 were dropped from the line and the L-5 followed a different evolutionary path.

I think what I'm trying to say is Gibson has a long history of producing the F-5 Master Model. The Loars were Master Models as were the Ferns of the 20s. Our high-end mandolins have a tradition of having that Master Model line label designation. It is historically correct to have that label in every F-5 style instrument we build. Really, would you be happy if your Fern didn't have the historically correct label?

I know it is a bit confusing to have a Master Model line and a Master Model. But, that is the historically correct thing to do. I know there would have been much unhappiness with our customers and dealers if we didn't have the correct label in all of our mandolins and all of our mandolins trace their history back to one model. The alternative would be to have historically incorrect labels in all of our mandolins save one. I think it is quite easy to remember if you look on the label for the model designation (and not on the printed portion of the label) it will be quite easy to tell the difference. Also remember, unless I personally sign the upper label, it's not a Master Model.

The only other alternative would be to produce only one model of mandolin which, I think we would all agree, wouldn't be feasible."

[MikeEdgerton]

Scan through the subject lines of these (http://www.mandolincafe.com/forum/search.php?query=master+model&exactname=0&starteronly=0&forumchoice%5B%5D=&prefixchoice%5B%5D=&childforums=1&titleonly=1&searchdate=0&beforeafter=after&do=process) threads for the appropriate message threads, you'll find a wealth of knowledge on the subject.

[kudzugypsy]

in the grand scheme of marketing, it goes like this:

Gibson introduces the F5-L around '79(?) - marketed to be 'just like the originals from the 20's' - of course, they werent - they were surely better than what had been made in the 50-70's though. so the L means "Loar". well it didnt take long for people to say, these mandolins are no where near "Loar" specs for MANY reasons. fast forward to Charlie Derrington, and he was obsessed with getting it RIGHT - so they come up with the Master Model which is as close to spec as they could get it.

so really, the F5-L should be the plain old F-5 and the Master Model the real F-5L, but it didnt work out that way.

[f5loar]

It's a little more complex than that. The first F5L in late '78 was a huge improvement over the last redo in 1970.
So much better it sold pretty good. Too good for them to keep up production so in comes the Gibson/Flatiron merger in 1986 to beef up production and also make some more improvements. This worked well under the direction of Steve Carlson and Bruce Weber in Bozeman, MT. That lasted until I think around 1998 when Derrington comes back to Gibson to bring the mandolins back to Nashville again. Production and sales goes down again as dozens of high end independent luthiers start to turn out better F5 copies and demand still there for a better F5L. Around 2000 they made more changes to get it closer to the Loar specs and each year after saw minor changes take place to the point it is today which IMO is pretty darn close especially in the MM and DMM.
So your '88 is considered the Bozeman F5Ls.
Not bad but not what they are today but better than those made before Bozeman.