Re: [Loar Update] I'm a proper idiot.
In the end, what all of this proves is why having a dealer experienced in instrument set-up being between the customer and the supply chain is important. All of the OP's design problems were totally mitigated with my 520 by going through a very reputable dealer who set the 520 up cleanly despite the design problem prior to delivery. With mass-produced goods being distributed worldwide, "stuff" does happen, but can be avoided.
Granted, when the instrument is being produced in very small numbers or for a custom order, the customer does not (at least, should not) need an intermediary involved, as that "custom" builder will perform "work of art" quality control prior to delivery. The builders who participate here, as evidenced by the sharing of their knowledge and the combined beauty and functionality of their work, should be viewed as artisans rather than builders. The more I learn about mandolins, the more I appreciate these artisans, and the more discriminating I get with subsequent acquisitions.
However, art (mandolin) appreciation is evolutionary. Being able to fully appreciate an artisan's talent and skills usually takes experience with "made for the masses" goods and their expected imperfections. That experience educates the customer on the subtle differences which exist between product and art. I know my 520 is not going to be a "forever" mandolin, but it does provide a very affordable and usable "F-style" platform during my learning curve, however long that may take. I have no regrets in buying the 520, because It meets a need for the present. I do know that when I feel ready to acquire a "work of art" F-Style mandolin to replace the 520, it will be because what I learned because of having the 520. I'll be more discriminating with the next F-Style and know why certain of the artisan's efforts add value (functionally and aesthetically) to the instrument.
Spencer's experience spotlights the issues when dealing with mass-produced unserviced mandolins regardless of the manufacturer. However, if it wasn't for the mass-producers, how many folk would bypass the mandolin completely due to cost?
BTW, thanks to these "learning" experiences with mass-produced mandolins, I was able to really appreciate what Steve Smith does with his RedLine Traveler line and jumped on the chance to acquire a truly unique and work-of-art RT which became recently available .
...Steve
Current Stable: Two Tenor Guitars (Martin 515, Blueridge BR-40T), a Tenor Banjo (Deering GoodTime 17-Fret), a Mandolin (Burgess #7). two Banjo-Ukes and five Ukuleles..
The inventory is always in some flux, but that's part of the fun.
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