Given the contentiousness of the original posts about this builder I am hoping this new thread may be allowed to proceed. I understand I may misjudge the situation.
Anyway...I have spent exactly seven days with Wienman F5(number 4). History shows me that I have a tendency to let my enthusiasm exceed my sober analysis of the instrument in hand. With my comments as the backdrop, here are my .02 on this particular mandolin.
The F5 traveled by ground without string tension for 9 days from Nashville, due to holiday schedules etc. Upon opening the case which is a Bobelock hard-shell with a cover. I've not had one of these cases in front of me before. They lock & unlock by simply flipping two latches straight down. A sturdy, easy to use, functional case.
Upon glancing at the instrument, I immediately experienced the sense of an earlier era. I am in no means an expert on what constitutes an authentic Loar era F5 mandolin. At the same time the Wienman just appears right to my eyes. The Vintage by Design website which is the builders online presence describes access to a family Loar. It appears that access has fostered and translated into a replica of their own Gibson Loar F5.
My initial impression of holding the Wienman F5 again brought me a sense of touching something older than what logic dictates. Moderately sized, sturdy neck profile supports a light weight instrument. Attractive silver tuners and tailpiece. The sunburst is warmer looking in person than in an online photo imho. I would describe it as a honey/tobacco burst. You may call it something else. One aspect I noticed immediately was the tight grained the Adirondack spruce top. Its an outstanding piece of Red Spruce in my view. The Michigan Red Maple used on the back and sides areas as well, striking in appearance.
Taking on string tension..the Wienman responded so smoothly when I brought it up to pitch. All four courses were smooth. Yes, some of it surely relates to quality of tuner but it must also relate to the overall balance of the neck joint, tail piece and head-stock alignment. Outstanding in this subtle yet important aspect.
Sound....
I have been trying to decide how best to describe my experience in this area since last Tuesday. Chronological order of the experience seems appropriate. And, perhaps some context of most recent similar experience helps in describing my week. Within the last couple of years I have been very fortunate to have had access to a variety of new instruments. Northfield Artist Series F5, Red Diamond A5, Apitius F5, Tyler White F5, Don Dryer A5, Matt Ruhland A5's, Nichols Road F5.
My most common experience with picking up and playing a new instrument has been nearly immediate satisfaction. It seems to me at least that each instrument "warms up" after a few minutes of strumming, chopping or picking. Some take slightly longer to warm up than others but all of them respond given a few minutes of playing.
When I picked up this lovely, vintage looking and feeling F5 last Tuesday, I was shocked.
I could not believe what my ears were telling me. This hurts to say but in truth, I was disappointed. Low volume, poor tone, felt kinda clunky. Wow. I sat the mandolin down and just stared at it. How in the world could I have been so wrong. Most everything i read online was positive. Some of it especially positive from well known pickers. Now, I know every instrument is different and sometimes a particular piece even from the best in the world don't quite have "it".
Two days later...same thing. My head was spinning. I like the gentlemen who worked on this instrument. I like the vendor in Nashville. I traded items, pawned things and basically did financial gymnastics to be able to pull this off and yet, a total dud. So disappointing. I didn't know what to do. So...i didn't do anything.
Friday....the beginning of the end...thought about changing the strings but didn't. Thought about taking it to my buddy and respected builder here in the Northwest, but didn't. Thought about calling the vendor and the builder and explaining as much as I regretted the situation I would need to ship the instrument back for a refund...but didn't. Friday afternoon, finishing up my work week. I left the instrument sitting out in my office because of how pretty it is. No matter how it sounded it is a striking thing of beauty. At the end of my day, I plucked the E string...hmm...it seemed a bit different. It wasn't sweet exactly but really clear. So I picked it up, and yes, it was rather pleasingly clear. In fact, I was surprised by its clarity. Many times to warm a new instrument up I will play tremolos. I will play them on all strings from the first fret all the way of the neck. Each and every string. I did that for about 30 minutes at the end of the day last Friday. Upon concluding this activity, I was introduced to what my good friends now call, "Thor's Hammer". A thundering, loud, thunk of a musical instrument.
I have clearly written way too much on this experience. Without going on any longer, I will simply say I have not seen a new instrument change in such a dramatic fashion. Wienman number 1804 within a period of 7 days has become a musical tool hard to put into words. Vintage Gibson vibe, feel and tone. So powerful with unparalleled clarity. In my view, a concert grade, professional quality, "new born Loar". It feels like thumping on a hollow log.
Now, i see what the buzz is all about...
A truly humbling, somewhat alarming experience. And, what a joyous ride. Thank you.
Bookmarks