Product Review:
The Eastman Uptown Professional AR810-CE
The Eastman Uptown Professional AR805

I’ve been following the evolution of Eastman Guitars since I first saw them at a trade show two years ago. While I was initially impressed, thinking “these are good sounding guitars, and a great value for the money,” within a very short period of time, the quality has evolved to a point where I’m enthusing, “these are great sounding guitars that can stand up against the best, regardless of price!”

All Eastman Guitars feature tightly grained book matched (x-braced) spruce tops, and highly figured maple rims and two-piece backs. Necks are three-piece maple, with unadorned ebony fingerboards. Bridges, truss rod covers, headstock veneers and pickguards are also ebony. All metal parts are gold plated.

The AR805 (*), like its big brother the AR810, is adorned with large stair step style tuners that provide an elegant, yet precisely functional flourish to the flared headstock. Likewise, they share sturdy metal tailpieces, similar to that of a Gibson Byrdland. While they suit the classic symmetry and vintage vibe of the 805 admirably, I think that the promise of a newly designed ebony and metal tailpiece will be more in keeping with the modern cutaway look of the 810, and give it a more distinct visual identity in the archtop marketplace.

Both of our test guitars are in the “Classic” finish. I prefer the thin coat of lacquer that has been applied to the “Classic Red” violin finish for two reasons. It is more durable in the long run than spirit varnish, and aesthetically, it seems to add an additional layer of depth to the already rich coloration.

The set up on these instruments was top notch, and they played great right out of the box. Strung up with .012s, the action was exceptionally smooth, and the (Dunlop 6130) frets were perfectly finished. The necks on both measured a very comfortable 1 ” at the nut. They have a beautifully rounded profile, and flat heel that adds to their playing ease.

The fingerboards and headstocks are opulently bound in 5 layers of black and white celluloid. The f-holes are triple bound, while the bodies sport a full seven plies of neat black and white.

The AR810 CE is a 17” jazz box that exhibits a decided Benedetto influence, particularly in the shape of its headstock, pickguard and f-holes. (Not that Eastman is the first to cop a few good things from the master!) It features a 25” scale length.

The skilled luthiers at Eastman start out with the concept that all of their guitars function optimally as acoustic instruments, whether or not a pickup is installed. So, it was no surprise that their tradition of violin carving manifested itself with the first chord I struck on this axe. It was loud, yet balanced with a rich tone that can only be obtained from precisely graduated plates. Single notes and arpeggios spoke with clarity and sparkle.

Plugged in, the floating Kent Armstrong humbucking pickup manages to amplify the guitar’s acoustic attributes, for a clean, warm and mellow, classic jazz tone. It is controlled by a single “roller” volume control, discretely located beneath the pickguard. Although it looks nice, I must admit that I find it rather difficult to adjust quickly and accurately, and would prefer a more conventional knob located on the pickguard’s surface. The cord jack can be found at the base of the body, where it does double duty as the strap endpin.

The list price of $2,495.00 (w/Eastman hard-shell case) is about what one would expect to pay for a top brand plywood electric archtop, but needless to say, is an absolute steal for a hand made guitar with carved top and back, especially one of this quality.

When sales rep Gordon Roberts called to tell me he was shipping me some guitars, he told me that the little 16” AR805 was “one of the loudest guitars I’ve ever heard!” He further added that he couldn’t bring himself to attach a pickup, as “this guitar has to be played as an acoustic.” I agree on both counts. Bring on the big band, because this guitar is a rhythm monster!

I say this having compared it to some of the best 16” vintage archtops in my rather large personal collection. The vibrations of the guitar’s back were sent pulsating through my body.

Once you get past the awesome cutting power, the 805’s other attributes come to the fore. Digging into a few of my favorite blues licks, the notes popped out with the sweetness, strength and focus that I associate with the sound of the great Eddie Lang’s recordings where he was using (not surprisingly) early Gibson L-4s and 5s. Like many vintage 16” guitars, the scale length is a shorter 24 ”, making this one smooth ride.

This test model 805 has no pickguard, and from the standpoint of aesthetics, it is the right call, as I think it would detract from the perfectly balanced, classical simplicity of the instrument. The hard-core rhythm man may disagree however, simply from the standpoint of wanting to protect the instrument’s lustrous finish from an errant stroke.

With a $1,995.00 (w/ hard-shell case) list price, the 805 will have great appeal to devotees of acoustic music (think Django, Marty Grosz, McDonough/Kress, et al), and is a very appealing alternative to the lofty prices commanded by comparable vintage jazz boxes.

In summation, these two Eastman Guitars offer the total package of stylish good looks, intelligent design, superior craftsmanship, second-to-none sound and unbeatable prices. They easily rival the products of many pricier custom builders. With a little bit of sampling from their growing line of handmade archtops, the prospective buyer (whether student or pro) can chose the options to find the guitar of his dreams, at a price that fits his pocketbook.

* Eastman [Uptown] guitars are produced in two grades, the “Professional” (800) and the premium “Luxury” (900) Series. The Luxury series includes such upgrades as the finest select tone woods, wood binding, an ebony tailpiece, and Schaller tuners with ebony buttons. A wide variety of additional options is available throughout both series.

Thanks to , and Michael Auger for their assistance.

Reprinted from: 20th Century Guitar magazine, January 2004, Vol. 15 / No. 1 © 2004 20th Century Guitar. All rights reserved. 135 Oser Avenue, Hauppauge, New York 11788; (631) 273-1674; fax: (631) 434-9057; www.tcguitar.com