Originally Posted by
dhergert
As an owner of a 2nd hand 2002 F-9 this is a very interesting thread to follow. My experience has been very positive with my F-9, so I wouldn't denigrate the whole model line, and I also wouldn't discount the possibility of getting a good instrument 2nd hand, although that does imply a greater risk... To that point, it is of value to notice that the OP was aware of top sinkage at the time that the mandolin was acquired.
It's easy to talk down about the F-9 model because it is less expensive than other models. To that point, I reference a 2003 Charlie Derrington interview where he says "... The F-9s have the same attention to detail as any of our other mandolins when it comes to tone and playability. We are able to offer them at a lower price for three reasons. The wood selection process (in reference to streaks, knots, curl, anything related to the visual and not to the tone) is less stringent and therefore less costly, and the fact that we don't have to scrape the binding (which is extremely labor intensive) and we don't have to buff the finish (again very labor intensive). We still spend the same amount of time in graduation, neck-fit, etc. as we do on our most expensive mandolin. ..."
So to me, implying that an F-9 is bound to have trouble because it is the cheapest in the model line is flawed logic. If that were the case, the same could be said about any model less expensive than a Master Model, or for that matter, anything less than an original Loar. So the F-9 -- or really any model's -- flaws that have been found are mostly a statistic of the factory production environment in which they are made.
A number of very experienced luthiers have spoken up here and in other threads about factory instruments that tended to not have anything near the personal touch that they are used to providing in their own instruments at lower prices than those factory instruments. I do think that's an excellent point.
As much as I enjoy my F-9, I know from personal experience that small shop luthiers can and do provide much better quality in their instruments. While I don't anticipate being in the mid-to-high end mandolin market again, if I were, these small shop luthiers would be the people I would be talking to. And that isn't to say that the work of the small shop lutheirs is perfect, but general history has shown that such a lutheir will be anxious to provide as perfect an instrument as possible, and to correct any problem in their instruments that they can.
As far as the OP's situation is concerned, I would suggest at least talking with David Harvey, if nothing else to get an "official" recommendation from the factory that made the mandolin. But when it comes down to the repair work itself, unless the factory can provide an unexpectedly wonderful repair offer, I'd very likely be talking to a small-shop luthier. I know from the relatively small amount of work I've had done on my F-9 by such a luthier, I've been extremely pleased.
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