Another EGF member just PM's me, asking about root shadows.  I've learned so much about guitars online, and I thought it would be a good discussion topic.  My understanding is that a root shadow occurs when the top came in contact with the location, where a tree branch was previously growing.  Unlike knots, which are more invasive and impact the sound, the consensus is that they have no tonal impact.

They cause a wave in the grain that kinda looks like a bearclaw, except that it's in a single location and generally straight (and usually isolated).  Attached are photos of my 2016 E40D from when I purchased it.  The root shadow was located right under the sound hole, so it's mostly covered with the pickguard now.

Some companies would never think of using an "imperfect" piece of wood for their top of the line guitar, but Eastman obviously knew this top had something special, despite its visual flaw b/c the sound on it is amazing.  When I asked around, someone told me that Lowden had some tops with root shadows, so there are some other companies out there using imperfect tops on high quality guitars, which is refreshing to me.  It's the sound, not the looks that do it, for me.

I saw a release of the updated AC series I believe from Winter NAMM 2020. Eastman changed the soundboard (Engelmann to European Spruce) and added a sound port and arm bevel. I think there were some other minor tweaks. The AC622CE is the maple B/S version of the updated models. It definitely caught my eye and over the last 18 months or so I have read and listened to just about every post on this model. I contacted Ted at LA Guitar Sales several months ago (>4) and he said he did not know when he would get another. A couple of weeks ago as luck would have it, he got one in and I bought it. As always Ted and Helene were a pleasure.

First Impressions
1) It is a lot lighter than I expected. It is probably 75% the weight of my E40OM. Part of this is probably due to the different woods, but I did notice that the braces - especially the back - are much lighter than the E40OM. They are probably 1/2 the height and about 2/3 the width. I think the other contributing factor is the finish.
2) I have confirmed via Eastman that the finish is the new Truetone finish. It is noticeably thinner than the E40OM's finish. Only time will tell if it does the job, but there is nothing indicating that it won't. Also the interior is not sealed like the E40.
3) Aesthetics - the guitar presents itself exceptionally. The silver leaf inlays on the neck and headstock match the rosette. The blue/green "branches" sets off the silver leaves. The maple arm bevel matches the back and sides. Unstained maple trim on all edges continues on to the bound neck. The minor issue is that there is a little bit of stain overspray on two areas of the inside of the guitar. It is not noticeable unless you look for it. Over-all it is very well executed.
4) Playability - the set up was just about spot on and only required a little tweak of the truss rod. The neck is a touch thinner than my E40 or E6. The nut is right on at 1.75" but the spacing is a little narrow. If I wanted to, I could have a new one cut with wider spacing as there is room on the fretboard. The arm bevel is a nice touch as it makes the guitar very comfortable on my right arm. The sound port definitely increase the volume to the player. 
5) Pick-up - it works. I rarely need to plug in. It is nice to have and the Baggs Element seems to replicate the acoustic sound of the guitar. 
6) Tone - I was a little concerned about the "brightness" of maple, but those concerns were unfounded. The bass is good and present. At times the highs seem almost glass like - very clear and direct. It definitely doesn't have the overtones of the E40OM or the balance of the E6D-TC. The notes just seems to present themselves and then get out of the way.
7) Tuners - This is the first set of sealed tuners I have ever had on a guitar. They are smooth as silk. I am very impressed
8) Guard - I took off the stock one and put on a clear for now. (pics with both below) I might get something from Taylor Mullins but I haven't decided. I would welcome comments as to how it looks without a guard. 
Conclusion
I really like it. Do I love it? Maybe not yet but it has distinct possibilities. It lets me play with some options - a 000 with red spruce (Adirondack) over rosewood, a dreadnaught with torrefied Alpine spruce over mahogany (Khaya) and now a European spruce (probably picea abies) over flamed maple. Here are some pics. Due to lighting the top looks creamier in some of the pictures. A true representation is the third picture - the one with the guard on. 

  
 

 

This is my first NGD or in this case new to me. All my guitars except the PCH have been used or demos. I am a Covid Caballero having finally taken the step to learn to play. So this is probably not useful to the seasoned on this forum.

My guitar arrived from Dave’s Wednesday.  It was very hot here in Chicago land and the box was extremely warm to the touch.  I had to sign which was a nice and got it into the AC to cool down. I had 5 hours or so of work so I let it acclimate.  

I have been lucky in buying used or demos my E6D had the plastic on the pickguard and the PRS had the pickups covered. Essentially new.

Not this time. The guitar was packed well. The new cases are a huge step up. When I opened it and pulled the guitar out there was no plastic on the pickguard. In fact it looked someone took a saw to it. But the top was pristine and the b/s were radiant.  The strings were spent so I hustled to a local shop and grabbed some Martin SP 80/20s.  I have an order coming from strings and beyond Saturday.  I restrung it played a bit but let the strings settle til the next day.

Got up early and was really disappointed.  It sounded dead.  I was considering sending it back. On a whim I took it to Down Home Guitars and had them look at the set up.  The luthier said the neck looked ok but the saddle looked off. He did a quick set and suggested going with uncoated/untreated strings so He Put Martin uncoated 80/20s, tweaked the neck lowered the action.  Magic.  It was like night and day. He said it looked like saddle was brand new and was not flattened or shaped. He took it back and made few other adjustments to the nut slots and gave it back. It sings.

I have huge hands. The neck is perfect. The edges have rolled and the fretwork is impeccable. And to my surprise it is light. Much lighter than the 6 and just a tad heavier than my J 45.  

A few thoughts:

1. The finish is definitely the truetone. Noticeably thinner than the 6.  The smell is less obtrusive.
2. There are visible swirl marks on the b/s.  I think due to the lining of the case. They follow a pattern similar to the motion of removing the guitar from the case.  Also could be the lining material is coarser.
3.  I had recently played a Martin Special 16 rosewood.  It had that tone of an HD 28. This is a bit similar. Not quite there but close. And closer than the Special 16.
4. I have thought the 6 sounded less vintage and more toward but not at the Taylor modern sound. The TC top moves this back toward a more vintage sound but retaining the note clarity Eastman is known for. 
5. I will replace the pg polish it up and see if the swirling continues. If it does meh.  I like to play not polish.

I now own an all solid rosewood sitka dread that sounds fantastic and got it at a great price.  Now to see if the pics work.

So, I'm wondering if there are some containers full of Eastman Guitars ???

Might we see some stocks in European dealers soon?

Will the instruments be OK after such a ling time in middle- eastern and Mediterranean climes?

mmm, chin scratcher! What think you?

Ol'Andy

Those early albums rocked with loads of Texas blues and shuffle lines and expanded the idea of the power trio. As a guitarist, I was always drawn to Billy Gibbons, but it was that monstrous rhythm duo underneath that made ZZ Top work. I just watched their Netflix documentary last month and will probably stream it again this weekend.

No comment on the pricing. No knowledge of the seller or guitars, but here is a way to jump start a small Eastman collection. (Not Concept Store level but a good start)

https://www.acousticguitarforum.com/foru...p?t=621953

Hadn't listened to any of his music for a long time and stumbled across this video and thought I'd share. What an amazing artist he was!

https://youtu.be/FJ85Hep0kD0

Anyone have experience with Waterloo guitars?  Watched a couple of demos of their WL 14 and thought they have some potential!

I was looking at Eastman OM's for a next guitar sometime next year, ideally mahogany with spruce top. Anyway, browsing a ebay yesterday I came across an Eastman E60M TC for a very reasonable price. As my luck would have it the vendor lived just 4 miles away. It was really too good to miss so one click and a phone call later I was on my way. The guitar is 4 months old and the vendor was clearing some of his collection of guitars, the Eastman not having been played much since purchase. It is in mint condition and plays beautifully, very good tone and well balanced. I think the E20D may have to take a bit of a back seat for a while as the OM is exactly the sound I am looking for currently. The neck, scale length and nut width are perfect for finger picking (for me) and it flat picks and strums very well. Glad I took the plunge and didn't dither as I would have missed an absolute bargain! (also my wife said I would need to get another Lakota strap so I know she doesn't really mind another guitar and case in the house).
[img]IMG_20210727_084726 by Ian Smith, on Flickr[/img]

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Hi all... here's my latest, nylon string this time!  Thank you for listening