I know this is redundant but thought I should put the review here as well so people looking for information on Stanleys in the future will have an easy time finding it. BTW, my favorite mandolin ever!
Your video seemed to capture some of hat loose, open Stanley tone. i'm hearing that Chris' instruments are very consistent, and yours is as pleasing to my ears as #62. Your point is well taken about the fit detail. While the fit is very good and acceptable, it's not quite perfect. However, the tone and volume greatly exceed those minor cosmetics. The staining and 3 dimensional depth of the wood is as at least as good as all the spendy stuff i've seen. In fact, his finish work has spoiled me with all other mandolins, period. Even the glossy, more expensive offerings now look perfect for a moment, but just seem to be more 2 dimensional and lacking or have a disappointing sense over time. This a little sad, as i used to love looking at the Ellis and Collings stuff. Chris' work has a extra little something the others are missing, with its warmth and depth. It's as if you can look down into the wood itself. But you may not want to do this, as your taste could be altered and see things in the wood you haven't before. i almost wish he hadn't clued me into this, because my sense of beauty has been changed...or rather, ruined. You mentioned stealing your instrument. Chris seems to be all about the sound of his mandolins, and he's not concerned about flashy inlay. In fact, he would even build them without any inlay. i wanted a very plain, simple elegance for #62, but felt it almost disrespectful not to have his name on it. He even had me talk to his pearl inlay artist (who reintroduced the new D45 inlay with Mike Longworth) to give the logo that early 1900's look. Yes, you say it well that a Stanley mandolin is terribly underrated and worth more than the price. After all, what it sounds like and how it plays is so much more important than just looks. And it's these things that set them apart. Who would ever turn down a good sounding Loar or Monroe's famous F5 because of its flaws? Chris wants them to be played, and beating them up is alright with him if its due to picking. i'll be interested in how yours opens up over time. Would you update this thread later, please sir? One question about your mandolin and strings: What's the difference in tone with the GHS strings that came on it and the ones you have on it now? Thanks for the informative video. i hope others will comment. dan
