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Thread: Gilchrist Mandolins, is there a best year?

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    Default Gilchrist Mandolins, is there a best year?

    Hi just wondering if there is a difference in the sound quality of Gilchrist Mandolins, would there be a period when he was making better Mandolins than he is now?, I have only played one and that was a great sounding F5 ( 1989, I think it was ). Thanks.

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    Default Re: Gilchrist Mandolins, is there a best year?

    No
    Yes
    I don't know
    I surely know
    This period
    That period

    You choose....how's that?

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    Default Re: Gilchrist Mandolins, is there a best year?

    I think you'll generally hear he's been building great mandolins from virtually the beginning, maybe with more recent years dialed in towards a certain direction or sound he's after, but not better.

    I know I've heard what I thought were great sounding mandolins from the 80's, 90's and early 2000's as well as more recent. Variation between mandolins, within "age" groups, and especially the player, and listener, are key. Steve's artisan work is solid across the board.

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    Registered User red7flag's Avatar
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    Default Re: Gilchrist Mandolins, is there a best year?

    I have a friend who had an early X braced F5. That was clear as a bell with almost no overtones. I have heard others with tone bars that sounded somewhat different. Different not better. I have never played one that I would not like to own.
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    Ursus Mandolinus Fretbear's Avatar
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    Default Re: Gilchrist Mandolins, is there a best year?

    Ronnie McCoury's X-braced "Old Red" has something I have heard nowhere else (could be that thing is Ronnie!) but it's clarity and penetration (with zero sacrifice of tone) is staggering. The sonic imprint of "The Mountain" recording would not have been possible without it.

    Sharon Gilchrist's has a burnished Holy Grail sound, regardless of pedigree.

    Interesting that neither of these earlier ones was made for them and yet came to be "Made for Them"
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    Registered User Glassweb's Avatar
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    Default Re: Gilchrist Mandolins, is there a best year?

    there are great ones throughout his career... just comes down to taste and finding one that you like... the usual deal...

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    Registered User Ivan Kelsall's Avatar
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    Default Re: Gilchrist Mandolins, is there a best year?

    Steve Gilchrist's mandolins were so good right from the off,that they quickly ascended the pricing ladder due to their buyers 'selling them on' at a profit. The quality of his build is almost legendary even now,during his lifetime. I have never played one,most lilkely never will, & will certainly never own one,as much as maybe i'd like to. As with all mandolins by any builder,they will differ to one degree or another = ''variations on awesome'' = i'll take any of 'em !.
    For those folk fortunate enought to be able to afford a Gil.,simply choose the one that sounds good 'to you',or to use my own term, ''has a more pleasing difference'' than the others,
    Ivan
    PS - Why isn't there a ''green with envy'' emoticon ??.
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    Registered User Bren's Avatar
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    Default Re: Gilchrist Mandolins, is there a best year?

    With the amount of care and attention it takes to make those mandolins, I doubt even Gilchrist is getting rich on it. But "contentment is wealth" as the tune goes.

    Now that I'm kids & mortgage -free, I've occasionally hovered my mouse over the order form.
    I have some cash, I could afford a loan, I could always re-sell it. (as if!) Just a plain A-style ...

    But something makes me draw back.

    Most of all, it's that "I am not worthy" feeling.
    Bren

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    Default Re: Gilchrist Mandolins, is there a best year?

    Since Steve Gilchrist has gone back to "parallel tone bars" a few years ago, I wonder what his newer instruments sound like. At least Mike Compton's #536 seems really wonderful and balanced. To my ear several older x-braced ones I played sounded kind of tubby.
    Has any of you ever tried the 2008 Gilchrist (#623 I believe) currently available at Gruhn's?

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    Default Re: Gilchrist Mandolins, is there a best year?

    I personally believe Steve is the best luthier in regards to mandolins... and their restoration.. alive today. That pretty much says it all for me. And one of the best guys on the planet to work with.
    He's restored two Loars for me, an F4, and will be doing another F5. There's simply no where else to send them, IMHO.
    Huge fan here.

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    Default Re: Gilchrist Mandolins, is there a best year?

    Quote Originally Posted by Ken Waltham View Post
    I personally believe Steve is the best luthier in regards to mandolins... and their restoration.. alive today. That pretty much says it all for me. And one of the best guys on the planet to work with.
    He's restored two Loars for me, an F4, and will be doing another F5. There's simply no where else to send them, IMHO.
    Huge fan here.
    Right on, Ken. We know the score, don't we.

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    Default Re: Gilchrist Mandolins, is there a best year?

    Here is an article I wrote that provides an earlier perspective on your question (written in 2004):

    Gilchrist owners and admirers came from near and far to attend Gil-Fest. A record number of Gilchrist instruments were on display. It was the first time this many "Gils" could be played, compared and shared at the same venue.

    Gil-Fest was hosted by SPBGMA (the Society for the Preservation of Bluegrass Music of America) during their 30th Anniversary Music Awards Convention at the Sheraton Music City Hotel in Nashville, Tennessee on Saturday, February 7. The event's allotted three hour timeframe quickly stretched to over five as enthusiastic participants showed up early while others stayed late.

    One of the most notable attendees was Steve Gilchrist who was running on pure adrenalin after only a few hours of sleep during his ten-thousand-mile-several-days-journey to the States from his workshop in Warrnambool, Australia. He brought with him his personal mandolin; the 500th Gilchrist instrument that he built in 2001. It's a real "crusher" (a term Steve uses to describe a really good mandolin). Like most Gils, it is a paradox. On the one hand, it has an engaging, very pleasing, harp-like tone. On the other hand, its thunderous projection can shake the skin off a banjo’s tone ring.

    Vintage instrument expert George Gruhn made the twenty minute trip from his Nashville store. He reminisced with Steve and others about the early days. In January, 1980, Steve moved to the United States and worked at Gruhn's for about a year. George afforded Steve an intensive, hands-on learning opportunity. Unlike the mandolin-scarce rural farming area of Steve's native Warrnambool where the only "mandolin construction plans" available to him was an album cover depicting Bill Monroe holding his Lloyd Loar mandolin, Gruhn's was, and still is a cornucopia of vintage fretted musical instruments. Here, Steve could unlock secrets from Loars, Ferns, classic arch top guitars, and other revealing instruments. This catapulted his already strong expertise. Starting with instrument number 81 (a mandolin built in 1980 while at Gruhn's); Steve developed his X brace innovation – permitting a less restrictive top plate. He also began using varnish instead of lacquer finishes.

    Back to Gil-Fest. Thirty eight Gils were in attendance (almost seven percent of the 550 total built). Every decade was well represented. There were even several mandolins from the 70's. For scroll lovers, plenty of spectacular F-style mandolins were on display. A full palette of finish colors were exhibited including Cremona, Tobacco, Red Mahogany, Oak, Black, Blond and Amber. Several A style mandolins rounded out the mandolin contingency. This included the legendary "Golden Gilchrist," a wonderful sounding blond Artist Model mandolin with "diamond-drop" birdseye maple back, neck and rims. Beyond the mandolins, there was a beautiful Model 16 arch top guitar, and a "killer" Model 5 F-style mandola. Perhaps the rarest Gils present were two Florentine-style Gilchrist mandocellos. For perspective, there are only three in existence.

    Recognizable professional musicians joined the excitement including Michael Cleveland, Sue Cunningham, Anthony Hannigan, Aubrey Haynie, John Hedgecoth, Andy Leftwich, and David Long. Mike Compton was there in spirit. Even though he was called out of town to play a gig in North Carolina at the last minute, his Gilchrist mandolin was represented by several 8" by 10" glossy photographs that he provided. In addition to musicians and collectors, several "next generation" top-notch mandolin luthiers were on hand including Sim Daley, Lynn Dudenbostel and Will Kimble.

    Interesting Gilchrist paraphernalia was shared including an original 1981 sales receipt for the purchase of an F-5 mandolin for $1,500. Don’t you wish you could go back in time and buy a few? Steve handed out signature "Gilchrist" picks to attendees. Gilchrist logo caps were available and worn by many Gil aficionados.

    Certainly one of the highlights of Gil-Fest was the unrehearsed performance of Bill Monroe’s Rawhide. Steve Gilchrist, who is a really good Monroe style mandolin picker, kicked off the tune. The unofficial "Gilchrist Mandolin Orchestra" followed his lead. "Big Mon" would have been proud. Rawhide sounded good considering the lack of a dry run and the daunting challenge of coordinating over thirty Gilchrist mandolin family instruments resonating at high decibels.

    This leaves us with "the" question: "Which Gilchrist mandolin sounded the best?" After polling a random sample of attendees on which Gil they preferred, as expected some said their own instrument(s). However, the surprise was that many (including non-owners) chose Gils from the most recent batch (finished in September 2003). This seems to go against the popular notion that a mandolin has to be played in for years to fully develop. Is this a fallacy or is it that Steve’s instruments are getting better? Steve was directly asked: "out of the 550 instruments you’ve built, which is your favorite?" His answer: “the next one I build." This bodes well for an amazing luthier from “the land down under” who has journeyed far to raise the standard of mandolin artistry.

    -- Mark Daly

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    Default Re: Gilchrist Mandolins, is there a best year?

    Yep.

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    Default Re: Gilchrist Mandolins, is there a best year?

    ... and a photo of the Rawhide performance:Click image for larger version. 

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    Default Re: Gilchrist Mandolins, is there a best year?

    This leaves us with "the" question: "Which Gilchrist mandolin sounded the best?" Steve was directly asked: "out of the 550 instruments you’ve built, which is your favorite?" His answer: “the next one I build." (Thanks to Mark Daly for his above article)

    Duke Ellington was once asked "Which one of your songs is your favorite?" Duke's answer - "The next one." Apparently musical birds of a feather fly oh-so-high together!

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    Default Re: Gilchrist Mandolins, is there a best year?

    If I had to take a shot at what I think... I would prefer the newer ones. More focused, more mid range.

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    Default Re: Gilchrist Mandolins, is there a best year?

    Quote Originally Posted by Mandomusic View Post
    ... and a photo of the Rawhide performance:Click image for larger version. 

Name:	480_Gil-Fest-2004-Large-Group.jpg 
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    Many recognizable pickers and mandolins in there, such as the fellow lower left in white T shirt holding The Golden Gilchrist, perhaps #98-417.

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    Default Re: Gilchrist Mandolins, is there a best year?

    I've owned two, both parallel braced. My older one, a '97, was played a lot and had it all, my personal favourite. My newer one from '06 initially sounded like it needed playing but had huge potential, and was more focused; it did develope, and after a few years, it became a hard job for me to pick which of the two I had was better. All Gils I have played from various years, with both bracings, never fell into "best year" boxes.
    I don't know how one can say there was a best year...too many variables, but if I was picking, I'd pick a newer parallel braced one too.
    Norman E. Pfeifer

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    Default Re: Gilchrist Mandolins, is there a best year?

    This has been a great thread. Wonderful to read posts from Mark Daley and Ken Waltham. I'm fortunate to own Gilchrist #203 which I picked up from Steve in Warrnambool, Australia in February of '91. I had ordered it a year earlier and sent Steve a small deposit at the time. I had never been to Australia before and my wife and I were on a leave from our teaching jobs in Canada and 'Oz' was a country we had always wanted to see. Steve and his young family were wonderful enough to put us up for a few days and introduce us to emus, roos, koalas and try to explain how cricket works. Yikes!!

    Mandolin #203 is x braced, has a two piece back and I'm pleased to say.... is the first mando Steve used Adirondack spruce on. It has a beautiful small pickguard that had the older clamp to hold it on..... I prefer to play without it. I love the sound of this mandolin and have played probably 10 others over the years. I agree that Steve's work was quality from the start and his devotion and perfectionism go into every instrument he builds. Upon my return from Oz I wrote an article for Bluegrass Unlimited called, 'Marsupials and Mandolins'. It was published around '92 if I recall. I jokingly tell Steve that my article was responsible for his rapid escalation in popularity.

    Several years later Steve spent several days with us in Canada and got to play my mando as well as two others owned by local players. What a treat to be able to sit in my living room playing music with the 'master builder'. We returned to Oz in about '06 and again spent several days with the Gilchrist family. A highlight I will never forget is standing in Steve's workshop one evening and playing old bluegrass duets together. Steve played a Loar he had in the shop and I played an acoustic guitar. As we looked out onto a meadow from his shop where sheep and kangaroos grazed, I had to pinch myself with delight. Here was a Canadian and an Aussie playing an old form of American music... and brought together by the love of wooden instruments and old acoustic music.

    Steve is not only a fabulous builder but he is as nice a human being as one could hope to meet.
    Aaron Burnett

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    Default Re: Gilchrist Mandolins, is there a best year?

    Anyone played the 1987 Gil at Gryphon Strings? Tone bar, Engleman top. If so, what is your evaluation?
    John A. Karsemeyer

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    Registered User Billy Packard's Avatar
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    Default Re: Gilchrist Mandolins, is there a best year?

    Hey Bren and John, Gryphon Stringed Instruments in Palo Alto, CA has a wonderful 1987 Fern for sale. I went by last Tuesday and spent 45 minutes in a back room playing it and it is wonderful. The E & A 's ring out, singing, and the D & G have a very focused powerful sound. It is reminiscent of Loar's I have played, that bluegrass tone. It has been played a lot and is very open sounding. It is from an estate sale and priced very well at $16,250.

    BTW, My 1993 Gilchrist A3 is X braced with an engelmann top and sugar maple S & B. It is warmer and a touch darker sounding than the Fern. It is very powerful and just gets louder the harder I play it. It has sustain for as long as you want. Also, in the years I have owned and played it the tone and volume have improved continually.
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    Default Re: Gilchrist Mandolins, is there a best year?

    Quote Originally Posted by Ivan Kelsall View Post
    Steve Gilchrist's mandolins were so good right from the off,that they quickly ascended the pricing ladder due to their buyers 'selling them on' at a profit. The quality of his build is almost legendary even now,during his lifetime. I have never played one,most lilkely never will, & will certainly never own one,as much as maybe i'd like to. As with all mandolins by any builder,they will differ to one degree or another = ''variations on awesome'' = i'll take any of 'em !.
    For those folk fortunate enought to be able to afford a Gil.,simply choose the one that sounds good 'to you',or to use my own term, ''has a more pleasing difference'' than the others,
    Ivan
    PS - Why isn't there a ''green with envy'' emoticon ??.
    Hi Ivan
    I've got one of Steves mandolins, model no 1 (2006) you're welcome to play it any time!
    I'm in Galloway, but from Oldham via Mytholmroyd to here in Scotland
    It's a great instrument, Steve called it a "Little Monster", and it is.
    Cheers

    George

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    Kelley Mandolins Skip Kelley's Avatar
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    Default Re: Gilchrist Mandolins, is there a best year?

    Quote Originally Posted by Ken Waltham View Post
    I personally believe Steve is the best luthier in regards to mandolins... and their restoration.. alive today. That pretty much says it all for me. And one of the best guys on the planet to work with.
    He's restored two Loars for me, an F4, and will be doing another F5. There's simply no where else to send them, IMHO.
    Huge fan here.
    Steve is absolutely the best!!!

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