Designed for the traditional bluegrass sound with medium to heavy gauge strings. Described has having a cutting chop and superb bass, while maintaining great playability.


  • Highly flamed sugar maple back sides and neck
  • Red spruce top with traditional tone bar arrangement
  • Graduated for optimal bluegrass sound with medium or heavy strings
  • 24 fret bound fingerboard with abalone position markers on face and side
  • Ivoroid binding on body neck and headstock
  • Nickel hardware: Grover 309 18:1 ratio tuners, strap button and engraved nickel-plated James tailpiece
  • Mother of pearl nut
  • Traditional sunburst under hybrid varnish finish
  • Hiscox Hardshell Case


Optional Equipment
  • Solid ebony suspended finger rest – $100
  • Built-in McIntyre Feather pickup with endpin jack – $200 (while mandolin is under construction)


  • Fine quarter-sawn, vacuum-dried, red spruce used for superior tonal range and traditional “Loar” tone.
  • Full perimeter graduation for maximum top response.
  • CNC carved to precise curvatures, then hand graduated to each model’s specifications.
  • Tone-bars; graphite-laminated, voiced for bluegrass; with asymmetrical placement.
  • Amati-style “f” holes, area-matched to Lloyd Loar Era specifications.


  • Highly figured sugar maple, specially graduated by a new Phoenix formula


  • Neck is one-piece, profiled similar to Loar era mandolins.
  • Epoxy-graphite bar replacing metal truss rod for better sound and stability.


  • Finest ebony fingerboard is radiused to 7 1/4″ for ease of playing,
  • 13 7/8″ standard scale.
  • Front inlays: Snail or abalone 6mm dots
  • Side position dots: 2mm abalone dots
  • Binding: Ivoroid
  • Scalloped for pick relief above 24th fret. “Florida Extention”
  • All fret wire is now EVO “gold”, the new harder, longer-lasting fret wire.


  • Overlay is finest ebony
  • Precision CNC-cut inlays with 3-piece of figured abalone except on the Ultra where a hand-cut full abalone phoenix with flames is done.
  • Binding: Ivoroid


  • Width: 30mm (just under 1 3/16″)
  • Material: Mother of pearl


  • Highly-figured quarter-sawn sugar maple sides
  • Blocks and lining strips made from willow, as Stradivari preferred.
  • Internal air volume matched to the legendary Lloyd Loar mandolins.
  • Ivoroid Binding


  • Traditional Lloyd Loar specifications.
  • Nickel-plated thumbwheels
  • The bridge base is made from resonant ancient-forest maple recovered from Moosehead Lake in Maine.
  • The saddle is ebony, radiused and carefully compensated.


  • Machine heads: precision Nickel Grover machine heads, with white plastic buttons
  • Replacement light-weight nickel machine head bushings
  • Tailpiece: Nickel-plated engraved James tailpiece
  • Strap buttons: Nickel top button inside left point; (the end pin at tailpiece is ebony on all models except where an end-pin jack is used).


  • Colors: Traditional sunburst amber/red-brown/tobacco brown/black
  • The color stains are mixed with the shellac sealer or applied directly to the wood prior to sealing.
  • A grain-enhancing shellac is used as a sealer before top-coats are applied.
  • Top coats are the finest waterborne varnish, an environmentally-friendly finish that is extremely durable yet flexible for sound enhancement. The coats take significantly longer to apply and polish to produce a final finish that is only .006″ thick.


  • Bluegrass and Master Model – made for medium-light to heavy strings, delivered with .011″/.015″/.026″/.040″ (D’Addario J74).