If You Had A Gibson Lloyd Loar Mandolin

[red7flag]

Thanks Buck. Would love to strum on either, but the bottom one just calls out to be played.

[DataNick]

...Right now, I've got about $500 to my name, while sitting on about 20 grand worth of mandolins. Not gonna sell anything, love 'em all too much to let anything go. I'll figure it out (knock on wood)...

Now that's a man after mine own heart!

Don't you dare sell those mandolins Jordan!

If you get destitute, you've got a standing invitation to come on out to SoCal...we'll put our heads together and figure out something....I'll make sure you got a roof and you can share whatever grub comes my way Brotha!....I'm serious!

[re simmers]

Nick,
I've never smelled napalm in the morning. But a Loar in the trunk of an Escort in 90 degree heat is a distinct odor. I do think Robert Duvall could describe in a good movie. All of us mandolin geeks would appreciate it. It would probably increase their value.
Any Loarians weigh in yet???

[Willie Poole]

You talk about being able to afford a Loar, well I have a house in Florida that is up for sale and I am hoping that someone will offer me a trade, the house for their Loar...Wishful thinking I know...As the wife says I don`t need another mandolin, I can only play one at a time anyway....

Willie

[Dawg]

OK gang. “Crusher” (signed by Lloyd on 12/20/22) came my way in the fall of 1989, a day before I played at Carnegie Hall with Stephane Grappelli. The mandolin was in perfect, near mint condition and sounded just as incredible as it does today, right from the first time I hit the open G string. Playing that instrument the next day in Carnegie Hall at the back of the stage without any mic was a religious experience. By the following weekend I couldn’t bring myself to take it with me to the next gig, fearful of disturbing its brand-spankin’ new condition. By the following gig after that I had re-thought the situation, having asked myself, “What’s it all about anyway?” Now, 27 years later, I have no hesitation in taking "Crusher" anywhere and, though well worn and no longer close to mint, it has withstood the tests of time splendidly. So to all you mandolin players I say, “Play that mandolin!” — regardless of its pedigree.

[Charles Johnson]

I own a Loar. I've owned several, in fact. I NEVER take one out to a festival or a gig. Its a $150,000 liability. Sure, I play it, but only at the shop. Its a significant part of our retirement equity. I do not make my living playing music.

Accidents happen. I'd rather not have a $150,000 accident. Sure, its insured, but insurance claims are a real hassle as well.

[Ivan Kelsall]

From Charles above - "....but insurance claims are a real hassle as well" And i've never come across one that you can get half decent tune out of either.

My mandolins - to me - are every bit as valuable as any Lloyd Loar mandolin. If i take one out to play,it's either in the case or in my hands being played,then it goes back in the case. The same with my banjo & it's been that way for 50 + years. Getting instrument insurance over here is very expensive,so i'd bet that almost all amateur players' instruments are uninsured.You just need to be careful & keep your wits about you,
Ivan

PS - Thanks to Mr Grisman for his comment. I bought the best banjo i could buy going back 30 years. I had to borrow the cash for it,but i took it everywhere with me. That was the whole point in buying it,to play it for my own pleasure & that of others (?)

[Jordan Ramsey]

Now that's a man after mine own heart!

Don't you dare sell those mandolins Jordan!

If you get destitute, you've got a standing invitation to come on out to SoCal...we'll put our heads together and figure out something....I'll make sure you got a roof and you can share whatever grub comes my way Brotha!....I'm serious!

Nick, you're a sweetheart!!! I've been living gig to gig for years, $500 in the bank is high on the hog for me! Just funny that I have all this equity in prize mandolins, no cash, and can't force myself to sell anything. Thank you for all the kind words these past few weeks, look forward to picking a tune with you one day!

OK gang. “Crusher” (signed by Lloyd on 12/20/22) came my way in the fall of 1989, a day before I played at Carnegie Hall with Stephane Grappelli. The mandolin was in perfect, near mint condition and sounded just as incredible as it does today, right from the first time I hit the open G string. Playing that instrument the next day in Carnegie Hall at the back of the stage without any mic was a religious experience. By the following weekend I couldn’t bring myself to take it with me to the next gig, fearful of disturbing its brand-spankin’ new condition. By the following gig after that I had re-thought the situation, having asked myself, “What’s it all about anyway?” Now, 27 years later, I have no hesitation in taking "Crusher" anywhere and, though well worn and no longer close to mint, it has withstood the tests of time splendidly. So to all you mandolin players I say, “Play that mandolin!” — regardless of its pedigree.

DAWG!!!! I was trying to write a "play that mandolin" response when I saw your post. Yes!! So cool to have you posting here! Amazing story about Crusher, I'm imagining the sound you heard in Carnegie Hall that day, I'm sure it filled the whole room. So glad you've treated Crusher as a tool and living piece of art, as it should be. You both are meant to travel this world and spread joy, damn the bumps and bruises. Hope you're well. Love you, mang!

[Hendrik Ahrend]

Over many years, I've observed several Loars, Dawg's, John Reischman's, Mike Marshall's ("honestly, I tried to keep it in mint condition"), Ron Thomason's ("Hazel Dickens, a great friend who dared me to take my Loar everywhere I go"), Butch Waller's, David McLaughlin's, Kevin Lynch and Tom Rozum among others. Any of those great fellows (except for Dawg, whom I have yet to meet) didn't hesitate to let me play on their F5; talking inspiring attitudes. Took me about 35 years of comparing mandos, honing my hearing (I'm an organ pipe voicer by trade, so fine sound is a priority in my life), dreaming and planning/calculating to finally pull the trigger on a Loar in 2012. One of the best decisions I've ever made. Playing this mandolin (# 75319) every day is just wonderful. And I take it to every jam and gig.

[DataNick]

Shaun said it, the Dawg seconded it....that's good enough for me!

[Ivan Kelsall]

I honestly don't know if there are any,but if anybody owns a Loar & doesn't ''take it out to play'',that seems to be more about 'possession' as the primary reason for the purchase in the first place,rather than as an instrument on which to play music.

That might be fine for paintings / valuable porcelaine etc.,but wooden instruments need to ''move'' to be in good condition. That's the thing that bugs the h**l out of me re. Bill Monroe's Loar - possibly the most iconic mandolin ever made,& also possibly,the most neglected. At least that's one thing that the vast majority of art galleries do,keep their purchases in good condition. Who really knows what condition BM's mandolin is in right now ?,
Ivan

[Beanzy]

Time for a 'player in residence' to be nominated?

[dustyamps]

I agree that an instrument should be played. I just wouldn't cover up The Gibson on the headstock.

[cbakewell]

I reckon a mandolin has two values - the value you get from playing it, and the resale/replacement value, and it is the gap between the two that would make the decision for me.

Like many here, I suffer from MAS, and have a room full of mandolins - but if the house caught fire, it would be my Oval hole Strad-o-Lin that I saved first. I only paid £160 for it, but the value I get from playing it exceeds that by a massive factor, and there isn't much chance of being able to replace it 'like for like'. The other mandolins could easily be replaced like-for-like with any insurance money.

I suspect that the gap between 'playing value' and the 'resale value' for the Loar in question would be too great for me - I would most likely sell it to someone who was going to get the value from playing it.

[2poor4Loar]

I bought an F9 Gibson. Its more mandolin than my playing capabilities deserve. As it continues to open up, (and I get better), it's tone and ring leaves me without further wanting for something more. If you can't be with the one you love, love the one you're with.

[AlanN]

I just wouldn't cover up The Gibson on the headstock.

Just spoke to that with Tom Rozum. As with owners, opinions surely differ.

[Al Trujillo]

I'd sell it.

First, I'm a practical guy and IMO, the Loar needs to be in the hands of someone who appreciates what it is. As a newbie I'm just not there yet. Second, I'd worry too much about having it around the house. And last, I've got too much of my life tied into paying for my kid's college time and I'd like to retire debt-free someday. I would use some of the money to buy a mando in the $5-7,000 range and I'd be perfectly happy with that.

[UsuallyPickin]

Yes .... taking it out and playing it would involve a certain amount of concern possibly evolving into severe paranoia. Playing it only at the house is surely a protective stance to be considered. Having to say "no", or not, to every mandolin player that asks " can I play it " is something else to be thought about. But not having it to be played when I am doing one of the few things I truly love to do is a "BIG" drawback......... on a much $maller $cale I am protective of my much worn F5 from very much later period in Gibson's history. People ask some people get to play it others don't. But I get to play it and I take it to jams etc....... It would be like missing an old friend if it wasn't there ..... R/

[Jeff Mando]

I love these kind of threads! Several difference interpretations of the OP's question, IMHO. Rather than say, "If you owned one of the world's finest instruments, would you take it out to play?" the discussion quickly turns to, "What would you do if you won the lottery?" (I'd sell it!) Granted, both are equal degrees of fantasy, in my world -- probably the lottery being the more likely bet!

Discussion of dire circumstances abound -- I wonder if the Loar was on Survivor, if it would be used for making music or burned for warmth? Heaven forbid! Let's make sure they don't get one!

Having $500 to my name and $20K worth of instruments probably sounds like a lot of us, when we were in our 20's. I know I didn't care about making money, just making music -- I didn't own a tv, didn't pay for air conditioning, often didn't own a car for years at a time, etc......it becomes more of an issue when you are 60 and have a house payment, spouse, vet bill, cable, emergency car repair, etc. Hopefully, by the time we are 60, we have figured a few things out....but, again, situations can change....

Another frequent answer is that I'm not a good enough player to bring out the best in such an instrument.....many of us can relate!

Let's say finances are not part of the equation. You have a job, money in the bank, kids have a college fund, you have nice cars and can afford them, etc. You worked hard and were able to afford a Loar.........would you play it out of the house, or would you be afraid to? I'm assuming people who own Rolex watches wear them. I'm sure many celebrities wear clothing that is worth a lot more than my mandolin. People who own Ferraris drive them -- think of the risk -- they have decided it is worth the risk.

I think we often hint at classism on this forum, for lack of a better word. I know I am guilty of looking at the prices of nice instruments through the eyes of my middle-class upbringing and nothing wrong with that. My late father loved antique cars, and had a few, but a some point he termed it a "spectator sport" due to the increased prices cars were bringing. Truth is, some of us are doctors, lawyers, and some of us work at Walmart, and a lot of us are somewhere in the middle, just happy to be working. And, to a degree, that is why a Loar gets our attention -- not everybody has one!

[fernmando]

I can't imagine. I just bought an almost 28 year-old Gibson A5-L, and this mandolin doesn't have even one scratch or blemish anywhere. I don't believe that this thing has ever been played. I am reluctant to hand it to anyone, and I know that the first ding will be mine. That said, and to answer the original question, though I am a professional player that Loar would immediately be SOLD to the highest bidder, I'd get a Dude 1-A, and a Gil, I'd keep my A5-L and I'd pay my house off.

Roscoe Morgan

[danielpatrick]

While I don't own a Loar, I do have a Gibson F5G that I absolutely love. As a father of two teen girls, small business owner and having gone through a money draining divorce obtaining a Gibson was a bit of a milestone. The first week I had it I was so worried about taking it to gigs but that is why I bought it. I realize it is not an "investment" mandolin compared to a Loar but even though I play amplified and could bring out any inexpensive mandolin that would probably sound similar through a PA, I bring "Buzz" to every single gig I've played since I've owned it. The absolute joy I get every time I take it out of the case is worth every nick or ding it has acquired. (Almost 400 gigs in 3 years and counting!)

[AlanN]

I'd pay my house off.

[Timbofood]

I say "Smoke 'em if you've got 'em!"

[Mandobar]

At 150k, what percentage of working musicians can afford it? Let's be realistic, but in many instances musicians have been priced out of the market for these instruments, and many more.

[Rick Albertson]

Jordan, I'll call Nick's offer and raise the stakes: you can come live with us in the mtns of SOCAL. Free room and board and I'll pay you, too! Only requirement: regular mind (and hand) melds! Miss seeing you. Rick