Gilchrist F-5 Carved Top Mandolin (1990)
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Gilchrist F-5 Model Carved Top Mandolin (1990), made in Warrnambool, Australia, serial # 202, Cremona Brown Sunburst varnish finish, Red maple back, sides and neck; European spruce top, ebony fingerboard, black tolex hard shell case.
This is a lovely early example of the work of Stephen Gilchrist, widely considered the finest builder of traditionally-styled mandolins in the world today. His instruments have been accruing a stellar reputation for decades and are highly sought after by the most discerning players. He hand builds them in small batches in rural Australia, eschewing most modern production techniques in favor of traditional methods. Over the past few decades Gilchrist has secured a reputation second to none, and there is a considerable waiting list for a newly made instrument from him. This 35 year old example is recorded in his notes as having had the fingerboard and pickguard replaced and the finish removed from the back of the neck, but it is not noted if he himself did this work.
This mandolin is an older example of his Model 5, according to his records the last one actually labeled as an "F-5" in the Gibson parlance. The instrument is of course a subtly refined copy of the original Gibson Lloyd Loar era F-5 which is the template for all Bluegrass mandolins. Many players say Gilchrist's mandolins are the best that they've ever played, even compared to the vintage Gibsons that inspired them. Based on the ones we have handled we would tend to agree; this now well played in Gilchrist is simply about as fine as a "modern" mandolin gets.
This mandolin bears serial number 202, the last numbered of the single batch of 5 mandolins and 2 Mandolas constructed in 1990, all completed in July that year. The finish is the traditional Loar-style Cremona Brown Sunburst varnish, but the mandolin has some unusual construction features. The back is carved from a single piece of gloriously flamed red maple, the sides also have a lovely vibrant flame figure. The top is also unusually carved from a single piece of fine-grained European spruce, which is rarely encountered with Gilchrist (or anyone else, for that matter!). A couple of other F-5's in that 1990 batch has one-piece backs, but this is the only one noted with a one-piece top. Although not mentioned in Gilchrist notes, the top is also X-braced not parallel braced as was Gibson spec. The twin soundholes are non-traditional "S-holes" as the maker records them.
The elegant scrolled headstock maintains a timeless grace, with the traditional Style 5 flowerpot inlay under Gilchrist's logo and tuners with grained ivoroid buttons. The dot-inlaid bound fingerboard has the traditional flat radius, but there is no extension. Appointments include nickel plated hardware including an engraved tailpiece in Gibson's pre-War style but with the Gilchrist logo on the coverplate. The small elevated pickguard is made of triple bound Celluloid while the securing clamp is the 1920s Celluloid design.
The design and craftsmanship on this mandolin are truly exemplary, but the real delight is in the sound. The dynamic range is greater than most similar instruments regardless of age. This one has a very rich tone, brighter yet rounder than many Bluegrass mandolins. While it offers perhaps less of the Bluegrass "bark" than some it has a complex sound that rewards adventurous playing with excellent projection, splendid carrying power and excellent note separation along the entire length of the fingerboard. This is a truly exceptional modern mandolin, a very unique creation now just approaching 35 years old and played in to perfection. As with all of Stephen Gilchrist's instruments it is exquisitely built in the pre-war tradition but with musical response and tonal excellence as the overriding considerations.
Overall length is 27 1/2 in. (69.8 cm.), 10 in. (25.4 cm.) across at the widest point, and 1 3/4 in. (4.4 cm.) in depth, measured at side of rim. Scale length is 14 in. (356 mm.). Width of nut is 1 1/16 in. (27 mm.).
This beautiful mandolin shows the alterations from the original build as noted; a replaced fingerboard and pickguard and the finish removed from the maple neck in the manner of an old violin. Apart from these changes it remains original with only very light wear from having been played over the last 35 years which has certainly only enhanced its sonic signature. The original finish shows only minor scuffs, dings and dents with no heavy wear.
The back of the neck is bare wood from the first to the twelfth fret, probably lightly sealed and feeling great just like older Gibson necks that wear the same way. Other than this the mandolin looks carefully played but well cared for. The frets have been recently crowned and show no subsequent wear. The mandolin plays and sounds exactly like what it is; one of the finest 8-string instruments in the world regardless of age or pedigree. It resides in a modern hard shell case ready for new musical adventures. Overall Excellent - Condition.
This is a lovely early example of the work of Stephen Gilchrist, widely considered the finest builder of traditionally-styled mandolins in the world today. His instruments have been accruing a stellar reputation for decades and are highly sought after by the most discerning players. He hand builds them in small batches in rural Australia, eschewing most modern production techniques in favor of traditional methods. Over the past few decades Gilchrist has secured a reputation second to none, and there is a considerable waiting list for a newly made instrument from him. This 35 year old example is recorded in his notes as having had the fingerboard and pickguard replaced and the finish removed from the back of the neck, but it is not noted if he himself did this work.
This mandolin is an older example of his Model 5, according to his records the last one actually labeled as an "F-5" in the Gibson parlance. The instrument is of course a subtly refined copy of the original Gibson Lloyd Loar era F-5 which is the template for all Bluegrass mandolins. Many players say Gilchrist's mandolins are the best that they've ever played, even compared to the vintage Gibsons that inspired them. Based on the ones we have handled we would tend to agree; this now well played in Gilchrist is simply about as fine as a "modern" mandolin gets.
This mandolin bears serial number 202, the last numbered of the single batch of 5 mandolins and 2 Mandolas constructed in 1990, all completed in July that year. The finish is the traditional Loar-style Cremona Brown Sunburst varnish, but the mandolin has some unusual construction features. The back is carved from a single piece of gloriously flamed red maple, the sides also have a lovely vibrant flame figure. The top is also unusually carved from a single piece of fine-grained European spruce, which is rarely encountered with Gilchrist (or anyone else, for that matter!). A couple of other F-5's in that 1990 batch has one-piece backs, but this is the only one noted with a one-piece top. Although not mentioned in Gilchrist notes, the top is also X-braced not parallel braced as was Gibson spec. The twin soundholes are non-traditional "S-holes" as the maker records them.
The elegant scrolled headstock maintains a timeless grace, with the traditional Style 5 flowerpot inlay under Gilchrist's logo and tuners with grained ivoroid buttons. The dot-inlaid bound fingerboard has the traditional flat radius, but there is no extension. Appointments include nickel plated hardware including an engraved tailpiece in Gibson's pre-War style but with the Gilchrist logo on the coverplate. The small elevated pickguard is made of triple bound Celluloid while the securing clamp is the 1920s Celluloid design.
The design and craftsmanship on this mandolin are truly exemplary, but the real delight is in the sound. The dynamic range is greater than most similar instruments regardless of age. This one has a very rich tone, brighter yet rounder than many Bluegrass mandolins. While it offers perhaps less of the Bluegrass "bark" than some it has a complex sound that rewards adventurous playing with excellent projection, splendid carrying power and excellent note separation along the entire length of the fingerboard. This is a truly exceptional modern mandolin, a very unique creation now just approaching 35 years old and played in to perfection. As with all of Stephen Gilchrist's instruments it is exquisitely built in the pre-war tradition but with musical response and tonal excellence as the overriding considerations.
Overall length is 27 1/2 in. (69.8 cm.), 10 in. (25.4 cm.) across at the widest point, and 1 3/4 in. (4.4 cm.) in depth, measured at side of rim. Scale length is 14 in. (356 mm.). Width of nut is 1 1/16 in. (27 mm.).
This beautiful mandolin shows the alterations from the original build as noted; a replaced fingerboard and pickguard and the finish removed from the maple neck in the manner of an old violin. Apart from these changes it remains original with only very light wear from having been played over the last 35 years which has certainly only enhanced its sonic signature. The original finish shows only minor scuffs, dings and dents with no heavy wear.
The back of the neck is bare wood from the first to the twelfth fret, probably lightly sealed and feeling great just like older Gibson necks that wear the same way. Other than this the mandolin looks carefully played but well cared for. The frets have been recently crowned and show no subsequent wear. The mandolin plays and sounds exactly like what it is; one of the finest 8-string instruments in the world regardless of age or pedigree. It resides in a modern hard shell case ready for new musical adventures. Overall Excellent - Condition.