Re: tone differences of F vs. O hole in same mandolin body
Well, I hear a difference between the two Breedloves, with a good deal more "ring" from the oval-hole. Some of the sound similarity is partially due to their being played in a very similar style, with a lot of arpeggiated figures and open-string chords. Listen to when the player goes up the neck on the Oregon; you hear a real clear treble cutting through, characteristic of an f-hole mandolin. No "chopping" on these videos, which is where the sharp attack/quick decay of the f-hole instrument shines in a bluegrass context.
Also consider: two mandolins from the same builder, often show acoustic similarities, even with differences in design. Two mandolins played in the same style by the same player, also exhibit similarities. Breedloves have a characteristic timbre; they're often described as "non-bluegrass" instruments. Not sure that's fair, because an accomplished bluegrass picker could get good use of one in that style, but were you to compare a Gibson oval-hole, say an F-2 or an F-4, with a short-neck* F-hole Gibson from the same era, say an F-7, I think you'd hear a clearer difference.
* specified the shorter neck to eliminate the difference caused by the longer F-5 scale.
One other thing: a really accomplished picker on the two videos, but when I looked closely at his right-hand technique, he seemed to be continuously "giving the finger" to the audience. Planted ring and pinky fingers, extended middle finger... Wonder if anyone ever takes offense?
Allen Hopkins
Gibsn: '54 F5 3pt F2 A-N Custm K1 m'cello
Natl Triolian Dobro mando
Victoria b-back Merrill alumnm b-back
H-O mandolinetto
Stradolin Vega banjolin
Sobell'dola Washburn b-back'dola
Eastmn: 615'dola 805 m'cello
Flatiron 3K OM
Bookmarks