Built to meet the acoustical and amplified qualities a jazz musician looks for.
- Evenly flamed red maple back, sides and neck
- European maple top
- Neoclassical tone bar design, with more robust top graduation to meet Thomastik Infield Heavy strings
- Taller/wider EVO frets for chording and bending of strings
- 22 fret Macassar fingerboard to accommodate ideal pickup placement
- Black/Gold hardware: Custom Grover 309 18:1 ratio tuners, Gold strap button and black Rigel Style tailpiece with wood overlay
- No body bindings; macassar binding on fingerboard
- Snakehead headstock
- Warm brown sunburst stain under a hybrid varnish finish
- Solid macassar suspended finger rest with mounted magnetic Kent Armstrong pickup
- McIntyre Feather soundboard transducer pickup with stereo end pin jack
- Hiscox hardshell case
Special Phoenix Innovations
- Utilizes both a piezo and a magnetic pickup for creative playing styles.
- Fine quarter-sawn, European spruce is used on the Jazz and some custom models for its particular mellow 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 the Jazz model, with asymmetrical placement. The Neoclassical and Jazz have a radical new tone bar design for full tone and projection with light strings.
- Amati-style “f” holes, area-matched to Lloyd Loar Era specifications.
- Highly figured red 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
- Macassar used on the Jazz, all are radiused to 7 1/4″ for ease of playing
- 13 7/8″ standard scale
- Front inlays: 2mm snail under the bass strings
- Side position dots: 2mm snail dots
- Binding: Integrated binding Macassar ebony with fret slots cut short of fingerboard edge
- The Jazz model has a 22 fret fingerboard to enhance pickup placement
- All fret wire is now EVO “gold”, the new harder, longer-lasting fret wire. Jazz features higher and wider frets for chording
- Striped Macassar
- Snakehead headstock
- Precision CNC-cut inlays with 3-piece of figured abalone
- Width: 30mm (just under 1 3/16″)
- Material: dyed bone or natural bone
- Highly-figured quarter-sawn red maple sides
- Blocks and lining strips made from willow, as Stradivari preferred.
- Internal air volume matched to the legendary Lloyd Loar mandolins.
- Constructed violin style with no plastic bindings but with chamfered edges.
- Traditional Lloyd Loar specifications.
- Black plated hardware
- The bridge base is made from resonant ancient-forest maple recovered from Moosehead Lake in Maine.
- The saddle is Macassar, radiused and carefully compensated for light gauge strings
- Machine heads: precision gold-plated Grover machine heads with custom black-plated string posts and black buttons on the Jazz
- Replacement light-weight, black machine head bushings
- Tailpiece: black plated Rigel-style with Macassar overlay
- Strap buttons: Black strap button on bass side point (the end pin at tailpiece is ebony on all models except where an end-pin jack is used).
- Colors: Light violin brown with dark shaded edges
- 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.
- Jazz – made for flat-wound strings 011″/.016″/.022″/.034″, delivered with Thomastik stark (heavy).
One day I got a beautiful mandolin myself. It had very sweet, warm and soothing tone that I wanted to share it with other people who love music…
Read a full review on Jazzmando.com.