One of the things I like about Gibson is that you can actually play the mandolin before you buy it. That's not taking anything away from the fine custom builders out there but when I played every Gibson on the wall at Mandolin Brothers the one that stood out was the one I bought. It is unfortunate that you can't always do that with a small builder.
"It's comparable to playing a cheese slicer."
--M. Stillion
"Bargain instruments are no bargains if you can't play them"
--J. Garber
"Behind a curtain, Id be willing to bet most could not pick a Gibson sound from a Gilchrist, Dudenbostal, Collings, Randy Wood, or any of the great mandolins being made today".
- mand0l1n
I think this would be a great way to shop for an instrument in a shop. Have someone play the various models you've picked out while you sit on the other side of the curtain and select with your ears. I've had my wife listen from another room to a-b which sounds the best and she has always been right-on (and she's not a player).
Old Hometown, Cabin Fever String Band
I hope I don't sound like I'm too critical over Gibsons. I think it is more that my perception and desire for a Gibson (or Martin) instrument was built up and elevated to such a high status for so many years it needed a bit of a reality check. All my friends had nice Gibsons, Martins, or Fenders...and boy did I covet them!
I think that as we all get older and wiser, we can look at instruments from a more informed and savvy position, and are more likely to critically examine our desire and opinions. Gibson has a deservedly fine reputation and history, so its hard to go wrong with one.
We also tend to sing the praises of our own particular mandolin makers or models, as I am certainly guilty of in regards to Weber mandolins.
That's an advantage, yes. Also true of course for Weber, Collings, or any of the other mass-market builders.Originally Posted by (MikeEdgerton @ Oct. 27 2007, 17:29)
On the other hand... when you place a custom order with a small-shop luthier, you receive an instrument with an approval period of (usually) several days, at minimum. You get to live with the instrument, learn to grow into it a little bit, and find out how it likes to be played. The instrument actually gets a better chance at showing you what it can really do, compared to the more limited time people usually have to play instruments in a retail environment. Yes, you don't get to hear it compared to what else the luthier has produced recently, like you do with a new Gibson. But if it's one of the better luthiers, there won't be any "duds" that go out the door. And the instrument you receive might even be designed towards your personal goal in tone, which is something you can't get from a mass-market builder. There is also no buyer confusion or remorse about which one of several instruments might have been the best choice. You have a simple, easy binary choice... it's either a great instrument for you, or it goes back.
Just presenting the flip side. I know many people want to hear what they're getting before any cash changes hands, and I can understand that approach.
P.S. my S.O. has been violin shopping recently, and it seems to be standard practice around here to let people take one, or even several fiddles home on approval for weeks at a time. I wonder why that retail tradition developed differently from the way fretted instruments are sold? Is it just because it's such a small (and ultra-picky) market?
Lebeda F-5 mandolin, redwood top
Weber Yellowstone F-5 octave mandolin
I've often wondered the very same thing. I brought this up once here on the cafe and was told that this isn't always the case. The violin shop near our home has a VERY generous trial policy and I feel that with higher end instruments, that this shouldn't always be the exception rather than the rule. Based on my experiences, I'd say that they have a customer for life.
On the topic of MM's, I was up to see Barry Mitterhoff yesterday. I told him that I had just gotten on a wait list for a custom instrument and that I'd probably be selling my MM after it arrived. I asked if he would play it and give me an honest opinion. After a few minutes, he told me that if I could find a way to keep the MM, that I should.
And now for today's weather....sunny, with a chance of legs
"Give me six hours to chop down a tree and I will spend the first four sharpening the axe." - Abraham Lincoln
Interesting reference to instruments opening up after playing.
If it's not good (or great) to begin with, it probably never will! Living in Scotland I have only seen a few Gibson mandolins for sale. Each one was poorly finished and I mean poor, when I commented on the fact to one shop owner he said 'yeah, they are all like that! " If you want a Gibson thats what you put up with" I could hardly belive it. Collings and many others make mandolins that look perfect and whats more- sound fantastic, I honestly can't think of a reason why Gibsons are so poorly finished, The same holds true for their guitars. I recently tried a Brazilian Rosewood Southern Jumbo at a dealer in Glasgow, £4.000 here $8,000 dollars ! Pickguard had slipped leaving a tan line and glue showing-neck was bowed and fretboard had shrunk, leaving protruding frets. The binding looked like it was put on by someone wearing boxing gloves. I know someone said they wern't knocking Gibson, but Gibson do it themselves!
As the winemaker from D R C in Burgundy once told me while trying barrel samples of his wine-'dont believe experts who tell you- you have to wait for a great wine to develop, if it's not great when its made it never will be great'
Alisterhrae,
I could not agree with you more. I have experienced the same thing with most of the Gibsons I have played. And yes they have done it to themselves. What is even more bizarre is the how people get offended when your honest about this on the Cafe. I will not appologize for being honest about Gibson on the Cafe. If Gibson owners have a problem with it, I guess they will have to deal with it because this seems to be the General consensus among so many that I have talked with. If Bill Collings started making mandolins like many of the Gibsons I have seen, I would not be offended by people being honest about it. I would agree with them and say that it is a shame. And If I was a Gibson owner and was as easily offended as some on the Cafe about people saying anything about Gibson, I would contact Gibson and show them the numbers of posts, not just on this forum, but other forums as well about the reputation that they might be building, If they even care. I have played some good Gibsons, but I have never seen consistancy in their work like I have in Collings, Nugget, or Gilchrist.
If the Gibson Guitar in Glasgow was in that poor of a quality condition the dealer should have phoned Gibson with your description and I'd bet they would say ship it back on their dime. That's why they have dealers. Now if it was used not much you can do but new there is certain warrenties they follow and this certainly sounds like it would go under it easily if even a full replacement vs. repair. Sounds to me the guitar suffered heat damage on a slow boat from China.
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