Harvey Master Models...

[GProulx]

I'm wondering if there are any owners of current master models, and if so, how do you like them?

How do they stack up against the master models of the early 2000's?

What's the ballpark price of a used one?

There seem to be very few of them that shake lose onto the secondary market.

[DataNick]

I don't own one but have played a few; that being said, like all mandolins there is variation, so (dead horse here) you really have to play them all. I've played them from both eras and my feelings are that you can get the target Gibson sound without necessarily acquiring a Master Model.
I think the best one I've played was "Blondie" (Derrington signed, x-braced) when Shaun Garrity owned it, and I wouldn't trade it or any other that I've sampled for my '94 F5L.

Sierra Hull's, which is a 2009 Harvey signed model, is supposedly indicative of a good Loar according to her. It didn't wow me, but I only played it for a couple of minutes. Also remember that Charlie D. had his own "Loar" varnish recipe that went to the grave with him, and that David Harvey has his own spin on doing things.

Many have said that the exceptional Distresed Master Models come the closest to a Loar. If I were looking to get a Master Model, based on my own anecdotal experience, that's where I would start...good hunting!

[Willie Poole]

It is so hard to answer a question like that because what I look for in a mandolin most likely isn`t what you might look for in one...I have not played a Master Model but have played my share of Gibson mandolins and every one that I have ever owned I have sold because I found something else that fit my taste more than the Gibsons, that doesn`t mean that the Gibsons aren`t great mandolins it just that I look for something different than what they offer...

As Nick says, "good hunting"...I am sure you will find one that will knock your socks off...

Willie

[rcc56]

You're just going to have to play some yourself and come to your own conclusions. The reason they are hard to find is because they have been made only in small numbers over the last few year. I see older signature models listed for $8k and up. Sam Bush models and the like can be had for quite a bit less.

You might try playing some other brands. It might give you a better perspective. A lot of very fine mandolins by other makers can be found in the same price range as the upper line Gibsons.

[Mandobar]

I don't own one but have played a few; that being said, like all mandolins there is variation, so (dead horse here) you really have to play them all. I've played them from both eras and my feelings are that you can get the target Gibson sound without necessarily acquiring a Master Model.
I think the best one I've played was "Blondie" (Derrington signed, x-braced) when Shaun Garrity owned it, and I wouldn't trade it or any other that I've sampled for my '94 F5L.

Sierra Hull's, which is a 2009 Harvey signed model, is supposedly indicative of a good Loar according to her. It didn't wow me, but I only played it for a couple of minutes. Also remember that Charlie D. had his own "Loar" varnish recipe that went to the grave with him, and that David Harvey has his own spin on doing things.

Many have said that the exceptional Distresed Master Models come the closest to a Loar. If I were looking to get a Master Model, based on my own anecdotal experience, that's where I would start...good hunting!

"Blondie" is indeed quintessential of that dry Gibson tone. It is also at TME on consignment looking for a new home.

[rcc56]

I just looked over the offerings at Gruhn's and Carter's in the $6k to $12k price range. There are an awful lot of choices. Artist grade instruments with the classic look, by a dozen or more competent makers.

For example, you might want to take a look at Newson before the price goes up again. Very good mandolins for $8500. Equal in quality to instruments by better known makers that cost a lot more.

For the price of "Blondie," you can also get Gilchrist, Monteleone, Nugget, etc.

[HoGo]

"Blondie" is indeed quintessential of that dry Gibson tone. It is also at TME on consignment looking for a new home.

Isn't that funny that x-braced mandolin is considered to have "THAT DRY GIBSONE TONE"? Most die-hard Gibsonites would swear that red spruce over parallel tuned tonebars is the only way to go... LOL.
It's always down to personal taste...

[RBMB]

What are supposed to be the tonal differences between x-braced and parallel braced mandolins?

[DataNick]

I just looked over the offerings at Gruhn's and Carter's in the $6k to $12k price range. There are an awful lot of choices. Artist grade instruments with the classic look, by a dozen or more competent makers.

For example, you might want to take a look at Newson before the price goes up again. Very good mandolins for $8500...

Played my first Newson last weekend at a festival, and I was impressed; liked it better than a 2004 Varnished Fern that was there as well, would take the Newson over the MMs I've played...YMMV

[Mandobar]

What are supposed to be the tonal differences between x-braced and parallel braced mandolins?

Which builder? Because there are differences. There are so many variables, including wood pairings. Five builders working off the same plans will get five different results.

[HoGo]

Of course the position of the X and size of the braces changes tone. But on those I played the difference in tone was distinctive "roundness" of tone of x-braces (especially on Flatirons, Gils and similar builds) and "earthly directness" of tone on tone bars (your vocabulary may differ LOL) that was on the better examples, kind of similar to oval hole vs f-hole tone but much less apparent.
I've played some poor sounding x-braced and tonebar mandolins that would fail to get into this broad description but they would hardly fit into mandolin tone description as well.