Paris Swing

[Ted Eschliman]

Okay, I have had my sample for a few days, long enough to take some pictures and write a review.



I’ve showed this to some local friends, and I always felt compelled to lower expectations and let reality set in. These have to be examined within the context of price point. Economic reality check, at a 6 bill street price they are not some kind of "magic pill," nor are they likely to be the sole ax of a more discriminating player.

But having said all that, these are serious forward innovation, and a ray of sunshine to someone like me, serious about seeing new opportunities and options for the player tired of being trapped by tradition. I'm wild about the looks of these, and my feel is that even if you sling a $2K-$25K instrument, this is one I’d recommend you pick up for an auxilliary ax.

It’s a lot of fun!

Read the official JazzMando Review

[mr51]

I have good friend who operates a music store and is also a professional bluegrass fiddle player-partime mandolin player. #He received a Paris Swing about two weeks ago for his store stock. #He loves the thing. #He has played it on stage in his weekly gig at a local bar, and has received numerous positive complements. #

To me, it doesn't have that "bluegrass sound", but it does blend in well with other acoustic instruments. #

I'm not an expert by no means; I think Eastmans are quality instruments, but from what I can tell, the Paris Swing is a well made mandolin. #Its not a $1,000 instrument by no means, but worth the street selling price. #It won't appeal to everyone, but it is certain to have its place in the mandolin world.

[jim simpson]

At least if you dropped your pick into the hole, you'd have an easier time removing it. Now you might have trouble keeping your rattlesnake rattle in there!

[ShaneJ]

For some reason, they remind me of my mother-in-law....

[csstanley]

For some reason, they remind me of my mother-in-law....

That would make it a good beater, right?

[johnwalser]

My Paris Swing Samois should be here about Tuesday and I'm thinking about storing my stash in that big "D" hole. Now, how many Snickers candy bars will a mandolin hold?
John

[Desert Rose]

Ted and Mark

Thanks for the level headed reviews.

As I mentioned a couple weeks ago these are NOT aimed at the bluegrass barker market, and those looking for that wont find it here.

Gregs target was just as what was stated, to offer a breath of fresh air and innovation to the instrument, nothing more or less

Best wishes

Scott

[Ted Eschliman]

Scott this is true, but I wouldn't sell this short. For the occasional eclectic Bluegrassers out there, it's worth taking for a spin with all the aforementioned caveats. You don't use a hammer when the job calls for a screwdriver, but a good carpenter is entitled to both tools...

(Unless "banging" is ALL you intend to do...)

More eye candy:

[pickinNgrinnin]

That has to be one of the ugliest headstock logos I've seen. They missed the mark on that one. A very unusual looking instrument to boot. YMMV

[JEStanek]

I'll disagree on the headstock. Very French Cafe cool. Since it isn't a blugrass instrument is shouldn't look like one. Maybe Ted's review should have included the smell, like a smoky french cafe with overtones of esspresso, wine, tobacco with a hint of clove oil?? I really like their tailpiece design too.

Jamie

[mad dawg]

Anyone play one of their F-hole models? (The Parisian, I think it is called.) It's an interesting take on the F5 style -- with its Selmer/Macaferri style cutaway -- #and I am wondering that even though it is intended as a Jazz instrument, if it might also be able to double as a budget BG axe.

[Dfyngravity]

I love the looks of that mandolin! And it is also a great mandolin to get you to stop finger planting on the top, unless you have long enough fingers to reach down through the hole and plant on the underside of the back.

[pickinNgrinnin]

I'm OK with the Abalone tower but the Gold Leaf and MOP logo at the top left corner of the headstock is quite bad.

This might call for another logo contest

[Bob DeVellis]

I really don't like the rosette. The sound hole itself is so large that accentuating its size with that wide band of purfling just doesn't seem like a good call. It looks like a hole with a mandolin around it rather than a mandolin with a hole in it. I'm also not crazy about te headstock logo. But those criticisms aside, it's an interesting looking instrument for the price.

[John Hill]

Perhaps the distressed model will have that clove oil, espresso & tobacco smell built in to it...

Hopefully there'll be one around the Louisville area to try out, you never know if you'll need a new axe.

John

[Don Christy]

IMO, I've never seen an uglier mandolin. And I don't think ugly and mandolin should ever be in the same sentence.

Don

[Paul Hostetter]

Couldn't they have gotten the center seam in the center?

[jmkatcher]

That's what makes it a _jazz_ mandolin.

[fiddler]

I read Ted's review and was disturbed by the fact that he had very little to say about the sound of this instrument. Also, describing the playability as "somewhat acceptible" gives one pause.

I applaude the manufacturer's daring to put out a model as unusual looking as the Samois; but when one does that, it had better at least sound good.

Ted: could you comment more extensively about the sound?

[sugarinthegourd]

The center seam isin the center. It's everything else that's a bit off.

[mythicfish]

Here's my review of the review:
Damned with faint praise.

Curt

[Ted Eschliman]

I really didn't want to weigh in anymore on tone and playability until I'd had a chance to get to know the Samois better. Now that I've had a week, I feel I've got a better grip (pun intended) on what the instrument is capable of.

First, if you own other $3K to $5K mandolins, don't expect this one to play as well as them. If that's "damning," I'm sorry, but one needs to be realistic. It plays extremely well for an instrument in it's price range, however, so that's my "praise." Also, in the "one man's junk is another's treasure" department. I REALLY dig the looks of this. That tortoise binding just smiles right back at me as I'm playing, and the wood in the top is quite good. Trust me, the heel is not off-center like the shadows of the picture would persuade; this is a very good job of binding, quite baffling how much labor went in to it.

The tuners are an issue, and in talking with Greg Rich, these are the sorts of things they can improve on with feedback (easily fixed, and they will). Balancing economic realities, it's always tough, designers deciding what to put their resources into. The cosmetics, like them or not (and again *I* do...) are the result of lots of painstaking labor. Should they have put that into a radiused fingerboard instead? Yes, in my opinion, but many LIKE a flat fingerboard. I would have liked thicker frets, but the frets are very good--again, personal choice, and a decision a designer makes on the drawing board and sticks his neck out for once the product hits the street.

The sound is very warm. Will it kill banjos? Absolutely not, but it was never meant to from the very first design stages. Now, having said that, I've seen pictures of the new proprietary "Loar" F5 they will be coming out with soon. I have no doubt these will turn some heads. These aren't meant to be entry-level product either, but they will make the same economic production decisions based on what they feel an instrument needs to compete with current product, or why bother offering a new instrument?

I guess the proof is in the putting. They sent it to me to evaluate and return. Instead, I bought it. I really don't need another mandolin, but I was mesmerized by the looks, and I intend to support a company like Paris Swing that dares to do something a little different. I showed that with my wallet, and under the imminent wrath of Mrs. Mandohack.

"Research!" I'll bark back. This isn't "fun." This is SCIENCE!

Seriously, Paris Swing isn't for everyone. But, this one was for me.

[Desert Rose]

Ted

Thanks for that honest and unbiased feedback

The simple truth is as I stated the Paris Swing IS NOT for everybody and those that dont like aspects of the design are telling us we did our job right

As is clear there are some cocked and locked ready to pounce, without justification at times and thats just life, their agenda is clear

I wouldnt be surprised to see a radius fingerboard happen on the Swings, it is a natural for these, but the market will decide

And as you mentioned the Loar is now in the works, which is exciting. The Sumi built NAMM sample of the Master Model really turned heads

Best wishes

Scott

[duuuude]

Well Ted, yer gettin' closer, but "warm" doesn't really say much. How does it sound in a gypsy jazz jam? Does it hold up against a few guitars? Do the highs cut through without havin' to bang away? Are the lows loud enough to be heard? Do chord melodies come through clearly? Is it closer to a mandolin or a mini-guitar in sound?

[Verne Andru]

That has to be one of the ugliest headstock logos I've seen. They missed the mark on that one. A very unusual looking instrument to boot. YMMV

I'll disagree on the headstock. Very French Cafe cool. Since it isn't a blugrass instrument is shouldn't look like one. Maybe Ted's review should have included the smell, like a smoky french cafe with overtones of esspresso, wine, tobacco with a hint of clove oil?? I really like their tailpiece design too.

Jamie

I'm thinking they should have done a slotted headstock, like the Maccaferri's it's designed after. But, alas, the line is now dead and the headstock with it.

I am really digging Ted's grande bouche in natural - looks great IMHO.