There are acoustic differences between any two mandolins. The scroll and points that define the F-model are, in most cases, solid wood "outcroppings" from the mandolin's rims, with limited vibratory or resonant capacity. They may in some minor way influence the top's vibrations -- adding overall mass, stiffening the rims, whatever.
So those who do hear "minor differences" would need to establish that these differences were systematically related to the differences in design, and not just the type of variance you'd find among any group of similar instruments. Most of us haven't had the chance to listen to a couple dozen F-model and A-model instruments, identically strung and picked, from the same manufacturer and of uniform construction (design, wood, finish) within each model. Someone working at, say, the Eastman or Kentucky manufacturing facility, would have had this kind of experience.
Esthetically, the F-model silhouette has captured the field for most bluegrass players, for a number of reasons having as much to do with history, and the instruments played by influential musicians, as they have to do with sound quality. As a rule, more "bang for the buck" from an A-model than an F-model of the same price, since carving the F-model's scroll and points adds a significant amount of production effort, without a corresponding improvement in acoustic quality.
Also, "difference" doesn't necessarily mean "better" (or "worse), just "different." The most difference-making variants, IMHO, are oval soundhole vs. f-holes, carved vs. heat-pressed top, and laminated vs. solid-wood construction. I'd zero in on those as opposed to F-model vs. A-model.
Allen Hopkins
Gibsn: '54 F5 3pt F2 A-N Custm K1 m'cello
Natl Triolian Dobro mando
Victoria b-back Merrill alumnm b-back
H-O mandolinetto
Stradolin Vega banjolin
Sobell'dola Washburn b-back'dola
Eastmn: 615'dola 805 m'cello
Flatiron 3K OM
"The paths of experimentation twist and turn through mountains of miscalculations, and often lose themselves in error and darkness!"
--Leslie Daniel, "The Brain That Wouldn't Die."
Some tunes: https://www.youtube.com/channel/UCa1...SV2qtug/videos
- Ed
"Then one day we weren't as young as before
Our mistakes weren't quite so easy to undo
But by all those roads, my friend, we've travelled down
I'm a better man for just the knowin' of you."
- Ian Tyson
This is true of 2 identical appearing Mandolins from the same brand-company , and model, as well ..There are acoustic differences between any two mandolins.
because its natural wood and made by a person, Or assembly line of several individuals ..
writing about music
is like dancing,
about architecture
The Eastman is a great mandolin and a great value esp. used. I love mine and get compliments and offers on it quite frequently. Both the 305 and 315 sound great and I like the matte finish....
however......
Mike Barber and renoyd, I too would love to see some pics of the rubbed out finish, I'll bet they both look great!
Northfield F5M #268, AT02 #7
All mandolins sound different and all mine sound different doesnt matter the shape /style it all has to do with the wood
Ibanez 70's 524, 521, 3 511's,2 512's,513,1 514,3 80s 513's, 522
J Bovier F5-T custom shop
Kiso Suzuki V900,
The Loar lm600 Cherryburst
morgan monroe mms-5wc,ovation
Michael Kelly Octave Mandolin
Emandos Northfield octave tele 4, Northfield custom jem octave mandolin 5 octave strat 8
2 Flying v 8, octave 5, Exploryer octave 8 20"
Fender mandostrat 4,3 Epip mandobird 2,4/8, Kentucky. KM300E Eastwood mandocaster
Gold Tone F6,Badaax doubleneck 8/6
There's a 305 in the classifieds with some upgrades and a 48 hour return option.
Northfield F5M #268, AT02 #7
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