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I am interested to learn if anyone has played the new Weinman F5 at Gruhn Guitars in Nashville? I am only interested in the mandolin. How it plays, sounds etc. My interest is not related to price only the quality of what looks to be a nice F5. Thanks!
Here are all the threads on Weinman mandolins.
https://www.mandolincafe.com/forum/s...archid=9717994
Thanks George, I wasn't able to get the link to work but I have read much of the previous information. I am only interested in the new F5 that is currently available. However, my apology if I shouldn't have posted my question. Thank you.
This should work.
https://www.mandolincafe.com/forum/s...-Gruhn-s/page4
Thank you.
They ONLY way that you can evaluate an instrument for yourself,is to play it yourself. The opinions of others can vary hugely, depending on their musical tastes. If you can get to Nashville,i'd advise you to do just that. I've made three 520 + mile round trips in the past to the only decent mandolin store in the UK. For me,the journey was part of the enjoyment,
Ivan
I was just there, but didn't play it. Or if I did, it didn't make much of an impression. I do remember the black top Collings MT, though. Not what you asked, but it was my favorite in the shop.
I went to Nashville specifically to try a Pava Pro and a Silver Angel at Carters. I've always thought they were both beautiful, and after all I had heard about how the Pavas and Silver Angels sound I was prepared to come home with one or the other. But when I played a couple of each, although they were very nice mandolins, I was surprised when neither of them as Ivan said, fit my "musical taste".
I don't know if the Wienman was there when you were or not JD, but If you didn't ask for it by name or go up to the second floor you probably didn't see it. It wasn't displayed in the first floor showroom when I was there anyway.
To answer the OP's questions. As far as looks go I thought the fit and finish of the Wienman was excellent. It did have a different look than say a Pava or Collings, instead it looked very similar to say a Duff, Newson, or Gilchrist. When I got home I looked at it online and I can say for certain that it looked much better in person. As far as the sound goes, it seems a number of people have played that particular Wienman and thought it was very good. But as Ivan says, "the opinions of others can vary hugely". For myself, out of all the mandolins that I played in Nashville my three top picks were a Newson, the Wienman, and a Gilchrist. To me each had something very special. I agree with Ivan about making the journey if you can swing it. Going to Nashville was a real eye and ear opener for me. I'm glad I went, and I think it was well worth the trip even though I came home empty handed this time. I only wish I had planned on spending more time there.
C1981 I just noticed your review of this topic and would like to thank you. I appreciate your comments and especially in taking the time to seek out and play this particular F5. I have had the good fortune of being in Nashville for many years. When I was there I wasn't playing mandolin. It looks to be a mando paradise. Your praise of the particular instrument in question is seemingly quite positive given all the options in Nashville. I know sound is subjective but even so did you find anything in particular that stood out? Is it more of a strong mid range type instrument for example? Good play-ability etc. Thank you much for your perspective. Sounds like a great place for a "road trip, destination".
Cheers.
Thanks Old Growth, but to be honest I didn't seek out the Wienman. I just went to Carters to try out a couple of mandolins and ended up playing every mandolin I could there. Then I did the same thing at Gruhn's and at Cotton Music. They are all just down the street from one another. I don't know if I would call it a paradise, a smorgasbord maybe.
To answer your question, for myself what stood out about the Wienman was the way it responded and the balance. It responded swiftly and made it easy to do whatever I was trying to do. I could get 5 clear and distinct notes on any string, from the 2nd fret all the way up to at least the 12th fret with just one down stroke of the pick using a series of hammer ons and pull offs with no open strings. And my slides (including double stop slides) and tremolo were all distinct and clear and sounded the way I have always wanted them to. And it was balanced not just across the strings but all the way up the neck as well. I could get as much pop and power on any string at least up to the 15th fret as I could at the 5th or 7th fret. I think this added continuity to my position shifts and made it easier to accent certain notes much further up the neck. Yes you are right Old Growth, this was a sweet mandolin to play from my perspective.