Reischman superb tone.

[John Kinn]

Nothing beats the tone of John and his Loar.

https://pegheadnation.com/featured-v...man-malvern-2/

[CWRoyds]

Personally, I don't believe there is a better sounding mandolin in the world, at least for what I like to hear in a mando tone.
Certainly doesn't hurt to have Reischman playing it.
Unbelievable tone.

[Nick Gellie]

It is also his technique that helps get that tone.

[JAK]

Well I just got back from a music camp (Walker Creek) that had John R. and Sharon Gilchrist as teachers. One session was with John and Sharon playing/teaching melody and harmony, a couple of songs from their recent CD with Scott Nygard. This session was in a small room, no amplification, about fifteen people attending. John played his Gibson Loar, Sharon her red Gilchrist mandolin. I noticed that John used a tone guard, Sharon did not. To me the Gil had a louder, fuller, rounder tone than the Gibson Loar, by just a little bit. I know it's, "In the ear of the beholder," but that is how I heard both mandolins. Don't get me wrong, John's tone was outstanding (as it always is), but Sharon's jumped out a little bit more, as they sat right next to each other, playing without microphones. The bottom line is, don't miss a chance to hear either one play, amplified or unplugged = two world-class mandolin players.

[almeriastrings]

That's preference for you....simple as that.

[Ivan Kelsall]

John Reischman has said in an interview,that he likes the tone of his Loar because it's a tad laid back & has a slightly 'dull' tone to it.
By 'dull', i'm pretty sure that he means 'not bright'. It is a lovely sounding mandolin for sure & with John R.driving it,there's none better,
Ivan

PS - Here's a fine example of John's playing.

[Gary Alter]

I've been fortunate to do workshops with both John R. and Sharon G. and they both produce some of the most musical and powerful tone I've ever heard. One evening during the workshop JR came out and jammed with two other students and after each tune they would swap mandolins (the other two instruments were a Collings and Flatiron), there was definitely a special magic when John played his Loar but to no surprise he still had that JR tone when he played the other mandos. I did also get an opportunity to play John's Loar and yes it's the finest mandolin I've had the pleasure of having in my hands including a number of other Loars. Saying John and Sharon have great tone is kind of like saying Bach wrote some pretty good tunes.

[grassrootphilosopher]

Well I just got back from a music camp (Walker Creek) that had John R. and Sharon Gilchrist as teachers. One session was with John and Sharon playing/teaching melody and harmony, a couple of songs from their recent CD with Scott Nygard. This session was in a small room, no amplification, about fifteen people attending. John played his Gibson Loar, Sharon her red Gilchrist mandolin. I noticed that John used a tone guard, Sharon did not. To me the Gil had a louder, fuller, rounder tone than the Gibson Loar, by just a little bit. I know it's, "In the ear of the beholder," but that is how I heard both mandolins. Don't get me wrong, John's tone was outstanding (as it always is), but Sharon's jumped out a little bit more, as they sat right next to each other, playing without microphones. The bottom line is, don't miss a chance to hear either one play, amplified or unplugged = two world-class mandolin players.

I feel urged to respond to JAK´s post for two reasons (blue and red).

The use of a Tone Guard is no reason for "lesser" or "better" tone. While I think that it´s a trinket/gadget/thingy I know that some people swear by it. I do not deny its potential usefulness. I, though, know that the same result can be achieved just by holding the mandolin a certain way. And I do (hold the mandolin to your belly and get a crunchy tone; angle the mandolin away from your belly and get aditional jingle jangle...). But that is not necessarily part of a "good" tone.

The perception of a "louder, fuller, rounder" tone in the Gilchrist mandolin as oposed to a (let me phrase it that way) "leaner, tighter, muscular" tone is just the difference between a modern mandolin (tone) and an old F-5. I was astonished to notice just that when I was able to try out a Lloyd Loar F-5. It has been interesting to me, that the presumed advantage of a fuller, rounder tone is a clear setback in a band situation. We seem to prefer a modern tone yet do not think about putting it to use in a band context.

We all seem to agree that neither tone (modern vs. traditional/old) is "better/preferable".

And of cours, as it has been allready and rightfully noted, technique has a great impact on tone.

[fscotte]

Lower frequencies carry farther. Gilchrist is a bassier mando to begin with, and even more with a tone guard.

[John Kinn]

Sharon's mando is a bit deeper, which make it sound a bit bassier and louder. As for tone, that is something else. Sharon is a great player, by the way.

[Stevo75]

Well I just got back from a music camp (Walker Creek) that had John R. and Sharon Gilchrist as teachers. One session was with John and Sharon playing/teaching melody and harmony, a couple of songs from their recent CD with Scott Nygard. This session was in a small room, no amplification, about fifteen people attending. John played his Gibson Loar, Sharon her red Gilchrist mandolin. I noticed that John used a tone guard, Sharon did not. To me the Gil had a louder, fuller, rounder tone than the Gibson Loar, by just a little bit. I know it's, "In the ear of the beholder," but that is how I heard both mandolins. Don't get me wrong, John's tone was outstanding (as it always is), but Sharon's jumped out a little bit more, as they sat right next to each other, playing without microphones. The bottom line is, don't miss a chance to hear either one play, amplified or unplugged = two world-class mandolin players.

I definitely think tone gards make a difference. At least they do on my mandolin.

[Jeff Mando]

Based on this information I can see Tone Gard launching a national advertising campaign stating something to the effect of, "Buy a $75 Tone Gard and it will make your $175K signed Loar sound almost as good as a $24K Gilchrist!"

On second thought, might not be the best use of advertising dollars.........

[billhay4]

Lovely tune, beautifully played.
Bill

[Bob Buckingham]

I need a tone guard if only to combat a sound grabbing belly. 😉

[GKWilson]

I've had the pleasure of being around John quite often.
In an acoustic situation the Loar usually goes 'naked'.
The Tone Guard John uses has all of his electrical attached to it.
Having been to Walker a few times I know they keep those guys hopping.
He could have been coming from a mini concert or on his way to one.
By the way, I use and love my Tone Guard.
Keeps my manly 'lower' chest away from my mandolin.

[colorado_al]

I need a tone guard if only to combat a sound grabbing belly. ��

I'm quite proud of my mandolin mute. It has taken many years and countless adult beverages to hone into the fine mass it is today. I do also use a tone gard for when a more audible sound is needed...

[Ivan Kelsall]

The idea of a 'Tone-gard' is to prevent one's body from damping the vibrations of the mandolin back,thus enhancing it's 'volume' rather than it's tone. The 'tone' of John Reischman's Loar was applauded well before Tone-gards were ever thought of. For JR it's an enhancement. However,as ''grassroots'' suggests,holding a mandolin ''a certain way'' - at an angle to your body,does the same thing.

I'm averse to hanging anything on my mandolin that might remotely damage it & hold my mandolin at 45 deg. to my body. If you're playing through a mic.,it's doubtful if you'd even need to do that.

The body of my Lebeda mandolin is larger than standard,including it's depth,that may account for it's enhanced bass tone,
Ivan

[AlanN]

was in a small room, no amplification, about fifteen people attending. John played his Gibson Loar, Sharon her red Gilchrist mandolin. .

That must have been something...

[Mandoplumb]

I know I'm in the minority but I don't use a tone guard and don't think it really helps anything other than the one playing the mandolin. I have taken the test, hold the mandolin next to your belly and play, then hold it away and play. There is a big jump in volume, I agree. Now take it one step further,have some one else play the mandolin with you on the other side of the room with your eyes closed and see if there is any increase in volume, I can't detect any. In my opinion the tone guard allows more volume at the instrument but does nothing for it's projection. This constant "need" for more volume makes us grasp for anything that seems to give us more but if you are a distance from a band or a group at a jam, and they are all facing you any good mandolin will cut thru as good as the "loudest" banjo, at least if no amplification is used.

[AlanN]

I know I'm in the minority but I don't use a tone guard.

No you ain't...

[mtucker]

If I were standing a lot I'd use one. it's pretty obvious you get more depth and sustain from the axe when it's not sitting on your body.

[doublestoptremolo]

I know I'm in the minority but I don't use a tone guard and don't think it really helps anything other than the one playing the mandolin . . . In my opinion the tone guard allows more volume at the instrument but does nothing for it's projection.

That would still seem to be a selling point to me, though. Being able to hear yourself at a large jam would be helpful to play better.

[Stevo75]

I know I'm in the minority but I don't use a tone guard and don't think it really helps anything other than the one playing the mandolin. I have taken the test, hold the mandolin next to your belly and play, then hold it away and play. There is a big jump in volume, I agree. Now take it one step further,have some one else play the mandolin with you on the other side of the room with your eyes closed and see if there is any increase in volume, I can't detect any

I have taken the same test and did notice a difference. It probably depends on the mandolin to some degree. The back of my mandolin vibrates a lot. I can feel those vibrations muted if I hold the mandolin against me. Maybe some mandolins have thinner backs than others and vibrate more in that area. It probably all depends (as usual)...

I usually play standing and I get the best ergonomics by letting the mandolin rest against my belly (as opposed to holding it away from me). I know that I could position the mandolin such that I do not need a tone gard; but if I like a different position better, and the tone gard allows me to use that position, then I will. When playing seated it doesn't make a difference because I rest the mandolin against my leg and have no problem keeping it away from my body.

[Don Grieser]

My ears would take Reischman/Loar over any combination of Gilchrists.

[pops1]

I used a tone guard for a long time until last fall when I decided it was not fitting in my case as well as I thought it was. So this winter I went guardless. Now during the winter the things I play mostly allow me to sit, so a couple of times I put it on and played and took it off and did not notice a difference. This summer things will be different as I will do a lot more playing standing. I am not planning to use the guard tho as I will be playing plugged in and I feel the extra vibration of the back can promote feedback where as letting the back get muted slightly helps with this. Now I know I have played plugged in with it on and if we are not that loud, and we usually are not, it isn't a problem, but there were years that I always took it off as it helped with feedback tremendously. Especially when I was using a Schertler pickup, the K&K doesn't seem as prone to feedback as the Schertler was, but still it will stay off this summer.