I have 3 varnish guitars - an E10ss/V, E1000SS/V and an Sb59/v.  (plus 5 nitro Eastmans, lol).

What do you guys and gals use on them for polishing, removing fine scratches, etc?  My E100ss has some finish flaws - swirly marks and cloudy spots, nothing terrible, but I'd like to clean it up a little if possible.   (Other than that it is a fantastic guitar).

StewMac has these, which they say are safe for varnish: https://www.stewmac.com/luthier-tools-an...DAEALw_wcB

Has anyone used this?  Results?  Any other suggestions for caring for the varnish guitars would be appreciated.

I know this is going to sound insane.
But as much as I like my Eastman guitars, I never play them.
I’m always afraid I’ll put a nick, dent or scratch in them. So, they sit in their cases while I play my MIJ Strats, or my mid 90s Yamaha LD10. I have been thinking about purchasing an E20d. Every time I get close to pulling the trigger I talk myself out of it, “you don’t need another guitar collecting dust in the closet.

I’m I the only one who thinks this way?

The saddle on my E20D-TC chipped next to the low E string causing the string to drop into the chip.

I asked here and got some good advice regarding purchasing a saddle.

I went with a MacNichol.  It is very close to the proper length and thickness.

I think it may well be the production saddle Eastman uses on the dreads

The process is not difficult, but it requires patience.  Bone is very hard and takes a long time to sand when you must stop and check the fit often because there is no undoing going to far.



I used my nut vice and sanding blocks in order to make sure everything stayed square as I set the height. 



Turned out great.....And, intonation is dead on...



   

Hey everybody,

I hope you're doing well.  I have an E6OM, and just received some of the GSH PB lights, and a few sets of Bluegrass strings.  I think somebody on here said that Eastman's are built for light gauge, so do you you think the 3 medium strings on the bluegrass set will hurt the guitar?  I read on another forum that this guy was afraid of of it doing damage.

Am I fine doing this, or should I just put the GSH Lights on it?

Thanks!

I'm not really an acoustic player, I got some nice acoustics but they seem to find a new home . I have two eastman's acoustics currently , E100ML, AC420LCE
both are nice but would like to know what's out there that is magical ? I know that subjective . I prefer the sound of the e100ml . HEY SIDE ? what strings would you recommend to brighten up the AC420 ?
Now is there a Eastman that has a huge sound bright and full tone ? Searching for magic . Side not left-handed as you can see so if you know of a model Eastman makes left handed would help . I feel like acoustics are entering the dark side for me thank you for any help

My ideal of a great night out is sitting in the back room of a real (cask) ale pub listening to this kind of music. You probably know that Iris De Ment was 'discovered' by John Prine  - and good to see the great Jay Ungar (Ashokan Farewell) on folk fiddle :- https://www.youtube.com/watch?v=nlaoR5m4L80

I was so impressed with my E1D that i just had the Brown Truck drop of an E2D. Bummer is I have to let it sit in the case a while to acclimatize. All I can say at this point is that this one came in a tan gig bag that is not as nice as the black ones. The old ones were a perfect balance between protection and bulk/weight.

I wonder, especially as a new E20D owner who is definitely pleased with his new acquisition: I know that the E40D is reputedly made by Eastman's top luthiers, that the grade of the wood is better, as is the fit and attention to detail (not to mention the additional 'bling' of the abalone fret markers and trim, which, if I'm to be honest, doesn't much matter to me).

But... given that there's a $700+ difference in the retail pricing from the E20D to the E40D, is there a really significant difference in the sound of the two models that makes the up-charge worth it?

Those of you who have owned/played the two models, what's your opinion? It's curiosity makes me ask this, as the E40D is decidedly outside my budget at $2100+ retail, so unless I have a musical relative who for some reason leaves me theirs in their will, I'm unlikely to ever have one—and no one locally has an E40D in stock for me to play (which may be a good thing!)

The guitar UncleJesse passed on (thank you again) at The Mandolin Store arrived today. This is the reliced version of a slope shoulder dread - Adirondack top with mahogany back and sides. Scale length is 24.75". I am a little concerned with the slightly narrower nut - 1.69" and string spacing 1.44", but maybe it will get me to improve my technique/skills. The neck depth is similar to my E15SS. The set up was ok. The nut slot depths are good, but saddle height is a little high. I will eventually do a full set up when I do the first string change. I wonder how a set of NB strings would sound on this guitar?

Surprisingly this is a newer guitar. I was kind of thinking this might be old stock which was the reason The Mandolin Store was moving it a used price. The COA has a date of 06/10/20. The S/N begins with M which I believe Eastman only went to recently. Finally it has the smaller guard as opposed to the large bat wing that I have seen on most newer models. I have had issues in the past with Ping tuning machines but this set seems to be very smooth and even. I added the armrest (obligatory for me) and a strap button. I think for now that is about all intend to do to the guitar. 

Some first impressions - LOUD. Keep in mind my other guitars are OMs and a 00, but his baby moves some air. It has a very deep bass which I feel I was missing with my other guitars. It is 'modeled" after Gibson J15/35/45/50 but I wouldn't say this sounds like a Gibson or has that unmistakable Gibson thump. I previously had a Gibson J35 reissue and from what I can remember there is a distinct tonal difference between the two. I also had an E10SS for a few months and unless I am mistaken there are differences in tone between the SS and SSv. I think the thinner antique varnish finish on the SSv has an impact. All and all I am glad I decided to take a flyer on it. Now to improve my skills.

Following are the obligatory pics as well as a current family pic. 

There are a number of videos and online articles that walk through the steps to remove and replace a pickguard.  I've seen other methods posted and definitely don't claim this to be the "best" or only method.  But it's been effective for me, so I thought I'd share with the group.

The only tools I use are a bridge pin puller, scotch tape, dental floss, and a hair dryer.

REMOVAL: 10-15 minutes

Step 1: I loosen and remove the 1st and 2nd strings.  If you plan a pickguard removal and replacement around a string change, it's easy enough.  Otherwise, just loosen the strings enough to remove them at the bridge, while leaving them wrapped at the post, so you can revert the strings into the bridge and tighten them back up at the end.

Step 2: get a piece of floss that's at least as long as the guard.  This is used to get in between the guard and guitar without damaging or scratching the top.

Step 3: turn on the hair dryer with a warm setting.  The hot air will loosen the glue that's holding the guard onto the guitar.  Focus it on the front tip of the guard, so you can get that tip to separate first.  I point the hair dryer at the tip, but with a small waving pattern, so it doesn't direct the heat into any one spot for too long.  Likewise, I only run the heat for a few seconds at a time, so it doesn't overheat the guitar or risk loosening any glue for bracing inside the guitar.



Step 4:  once things are beginning to loosen up, I slide my dental floss underneath the front corner of the guard and work it as far as it will go.  I gently, but firmly, pull up on the guard to keep it from falling back onto the guitar.

Step 5:  I continue to alternate between heating with the hair dryer to get a little more glue to loosen up and gently/firmly pulling on the guard to separate a little more from the guitar.  I always work it parallel to the grain, slow and steady, until I get to the end.  You can continue to use the dental floss, if it's helpful.  But I usually just work it with my hands, holding the guard with one hand and the hair dryer with the other.

Did I mention... SLOW and STEADY?  Don't force it.  Allow the glue to separate and work a little section at a time.  Remember, the slower you remove it, the less risk of it pulling anything from the top.  Going in short bursts is also advised, so you don't overheat the top of inside bracing.



Step 6:  when I get close to the end, rather than pulling that last second straight across and risk pulling off part of the top with it, that's when I work it perpendicular to the grain and slowly lift off the back edge of the guard, while still using fanned heat from the hair dryer to loosen this last section.


CLEAN UP: 10-15 minutes

Step 7: remove any residual glue from the guitar top.  The glue is sticky and will capture dirt, dust, hairs, carpet fibers, etc., and all of those things will be trapped underneath your new guard.  This debris might be visible, but it could also inhibit the adhesive on the new guard.  You can use drops of naphtha, if you have it, or you can roll it into little glue balls with your fingers and pull them from the guitar top.  Either way, it's a little tedious... but the cleaner, the better, especially if you're applying a different size guard.



(Full disclosure: I took my time and really cleaned up the glue on my E10OM, not shown.  But since I was applying the same size guard in the same general placement, I cheated and didn't remove all of the glue on my E6D.  Instead, I made sure any glue balls and other debris were removed, so there was just a thin layer of glue remaining.  It was really sticky, so I figured it wouldn't negatively affect the adhesive from the new guard.  The difference in glue thickness was negligible.

REPLACEMENT: 5-10 minutes

Step 8: time to get out the new guard and 4-6 strips of scotch tape (note: blue painter's tape also works well.  Place the new guard (do NOT remove the backing!) where you'll want it, so it's sitting freely on the guitar.



Step 9: attach the strips of tape onto the bottom edge of the guitar, so each strip is divided between the guard and guitar.  Press firmly into the bottom edge, so it forms a tape "hinge" between the guard and guitar.  This allows you to lift the guard like a flap, and when it falls back onto the guitar, it falls exactly where you originally placed it.  The more tape the better, but if you have tape at the curves, it will be more difficult to lift it straight up.



Step 10:  practice raising and lowering the guard with the backing still in place.  Adjust, add, or remove tape strips, as needed, until you're sure that you can raise and lower the guard into its proper place.

Step 11: when you're feeling confident, lift the guard, remove the adhesive, and lower it back onto the guitar top.



Note: if you misfire on the drop, do NOT press the guard into the body, or it will be more difficult to remove and/or adjust.  I've never had to completely remove a new guard, but I have slide it slightly, just to get it perfect.  Once you're sure it's how you want it, press firmly and evenly across the guard, so it gets a good seal onto the guitar top.



Step 12: replace the 1st and 2nd strings and tune up to pitch.



Congrats! Take photos of your new guard to share online.

Final photo with new guard installed: