I’ve authorized the judicious removal of bracing mass from a couple of guitars in the past. Based on research about such modifications at various guitar fora and practitioners’ websites, and throwing in a little common sense (there is a learning curve among builders, afterall), it just makes sense. Not trying to declare the following as gospel. This is just my experience. I’d never undertaken anything like the scope of work done by Bryan Kimsey on a 1981 D-18 that I fostered for part of a year. That one had (among other things) a full brace scallop, popsicle brace removed, all 4 back braces lowered and the large rosewood bridge plate was replaced. I bought it after the work was done, so don’t know how it sounded before. But afterwards, wow. Light, responsive, warm… In any case, the probable result of his reshaping work, really justified my faith in the process.

I recently re-acquired a rosewood OM that all along had been on my “one that got away” list. But when I played it, it felt and sounded heavy and inarticulate. To the point where I was having buyer’s remorse and thinking, “so THAT’S why I sold it." Still, I guessed it had more to say…with nothing to lose, I brought it in to a local wizard and talked him into doing a little branch work on the top braces. It came back a new guitar. And when I finally put it down after a few weeks, I picked up the E6D and it sounded like it had caught a cold while it was on the shelf. Just muffled and compressed. It could be that what I was hearing was in comparison to the OM and its rosewood, but with my faith in the process, I brought it back to Stewart (the aforementioned local wizard) and asked him to look at the bottom braces.

He remarked that the back two were not only higher than what Martin does, but “even higher than Gibson.” Take a minute and look into your flattop Eastman at the back two bottom braces. Getting back to the information available online about such matters, specifically Bryan Kimsey’s; "Shaving the two rear back braces down to pre-90's heights will give your guitar a richer, warmer, and more complex sound.” And that’s exactly how I’d describe the transformation of the E6D. BTW, that thing is built like a dreadnought - the ship. When I first bought it, I thought maybe its body was intended for a 12 string, but they’d goofed at the Eastman factory. Though still heavy, it plays lighter and is much more articulate. It’s “balanced” in the sense that the bass notes blend with the mids instead of sort of colliding with them as they had done. It hasn’t transformed into a Martin or Gibson. It’s still very much an Eastman, but to my ears anyway, an improved one.

There you have it, the story of my Eastman E6D’s surgery. Like the man says, YMMV.

-- I'll take pictures of the braces the next time I change strings.

I bought the E40D-SB back in January, but since I already have a Dred, I have decided to sell this to buy an E20 OM-TC.  It is yours for $1,599 plus shipping - 7 day return no questions asked.  It is on Reverb here:  https://reverb.com/item/26535566-eastman...9-sunburst

You can contact me directly at filtermetoday@gmail.com and I can shave off another $40

Tom

Hi guys, I have several issues here that I am hoping you can clear up, and my issues are many:

1. I have this probably weird bias that as a newbie I should be learning on a 25.5” standard scale guitar. Because wouldn’t it be easier to learn to stretch more, press harder, etc on a higher tension string and adapt to a shorter scale later on? It would like perhaps being like a guy who can only play taylors with a thin neck. When I play other guitars in the future would I be unable to adapt? I have average to slightly above average size hands. Can you list other famous guitars that use a 25” scale length? Is this missing 1/2” entirely overblown since it’s spread across 24 frets?
2. Wood choice, does it correlate with build quality: I think I am a rosewood person. But without being able to try the various models, how would I choose? Are the more expensive models built better or if what I care most about is solid wood, would you recommend that I just buy the cheapest AC122CE or E1OM model if back and sides don’t make a big difference. I am also intrigued about Ovangkol wood since it’s an AC222ce but reportedly as the properties of rosewood? Is this true? I also heard an urban legend that the ac322 and above are the special ones but the lower ones are subcontracted out?
3. My sonic preferences: I want it all but I very much value tons of shimmer, sparkle, overtones, endless sustain. You know, the kind where you do a hammer on and you hear the note clearly and it rings and you are like wow this guitar is so nice and responsive even though I didn’t pluck the string or pick it. That said, when strumming a chord I don’t want everything to be one jangly sparkly mess—in other words, I would want chord clarity despite it being so sparkly. In the past I have felt mahogany was very clear and separated but it always felt too dry for me. Basically which wood and do I need anything more than the basic sapele? I like brighter sounds than warm and mellow.
4. Size: how much louder and bassier is the grand auditorium? Or is the OM plenty loud and wouldn’t disappoint me? I am looking for a number, like is it 10% louder only? Any size comparisons for the body?
5. Taylor: I have always wanted to own a Taylor. It’s irrational love and loyalty despite never having bought one, but the neck always seemed to be so easy to play and it seemed to make a difference. I like the way they sound plugged in although I might plug in once every few years only. But I was able to get my hands on some Taylor’s lower end models, and I was totally happy. But then I tried an ac322ce and was like holy cow this is at least as good as a Taylor, and I think better than their 114 for certain. So much so that I am in this forum. What should I do?
I really can only have one guitar and I plan to do chords, finger style, and picking but I am just a chord guy right now. I can’t get another one until the children are grown up and that a long long long time away. It has to be a buy once get it right type of deal.

I am sure I have more issues but this is a start, haha!

Hey it looks like Sal is selling his E10ss on Reverb for $750. I don't know Sal personally but I think I speak for our site(I hope I can Tim) that he loves guitars like all of us and I have enjoyed his posts.
$750 is a very good price.
Duke

New BR240A on Amazon for $775.  These deals usually don't last more than a day or so. My BR240A is a fantastic guitar.

I'd had my eye (actually, both of them) on the used E8D that had been offered for sale here, but sadly it's been sold. I've since sold my Seagull Performer and socked away the proceeds -- which, darn it, would have been close enough to have bought that E8D.  I now have my Guild Om-140ce listed on Craigslist, so hopefully I'll have funds for a new-to-me Eastman shortly. Maybe... 

I'm interested in finding a spruce (either Sitka or Adi)/Rosewood Eastman to go along with my E10D. I'd certainly be interested in an E20D, but it would either have to be a used one or I'd need to be patient and save up to afford a new one. Once the Guild sells (fingers crossed), I could likely swing a new E8D, though hey, if a good used one crossed my path I certainly wouldn't be averse to that.

And I've seen ads for used AC420s, which is a model I'm not familiar with but which seems to have pretty much the same specs (and price range) as the E8D -- is anyone here familiar with that model?  If so, I'd love to hear your thoughts on it (or, frankly, on any of the three models I've mentioned). Also, am I missing other possibilities in spruce/rosewood?

In any case, input from y'all  is appreciated!

Here's a cool one-off posted at The Gear Page. I love it!


https://www.thegearpage.net/board/index....x.2078954/

I was reading (between the lines of a p*&&-ing contest) about torrified tops on a new thread over at the AGF. I'm not really interested in the science behind it, more about the sourcing of the baked wood, and what method is used at that source.

Apparently different builders don't always do it the same way: "When Martin Guitar Company decided to use "vintage tone system" they adjusted the amount to mirror the time period they sought to duplicate in a particular instrument. The Authentic series that includes torrefaction all list a specific year also.Point being, they could have gone more or less, too. They used a damaged sound board that could be broken into pieces and a microscope, to compare the cell structure between treated wood and the original “vintage” wood. It seems to me, Dana Bourgeois went more. His torrified guitar tops seem to have a noticeably darker color indicating a greater amount of treatment."

Is there any information out there as to where Eastman gets its wood cooked, and to what degree (so to speak) they cook it? My assumption (which could be 100% wrong) is that they don't do it themselves.

Or if there's already a thread here on the topic, I'd appreciate a link to it.

I'm shopping for a new Eastman jazz box . I have el-ray , T146, 386 , sb59 . Also a carvin sh550 and a heritage prospect .
I'm thinking about the 803 , 805, 403, 503, 371, 372, t59v d like a vintage 175. I have enough semi hollows right now and two hollow-body. So now time for a bigger body jazz box like a L 5 or 175 ? Please share Your opinions , thank you

Hi,

I have an eastman e100ss ltd that high e string tuning gear has a deformed tooth, it gets stuck at a certain point.  It's always had an issue at a certain point that caused it not to be smooth but its never stopped it from tuning until now when I replaced the strings for the first time, now it refuses to turn.   

How should I go about acquiring a replacement gear or tuner?  I was thinking just using the contact on the eastman site.  

Thanks,
Rob