Eastman guitars are getting to be the alternate choice to many longer-standing USA businesses. The brand assembles its guitars in Beijing, China, but utilizes various consultants in Europe and America to style and continuously evolve its ranges. Inside this informative article, Fidlar will show you complete information about Eastman Romeo.
Eastman Romeo review
- Price: £1,950 (inc hard. case)
- Description: Thinline single-cutaway hollow body 6-string electric guitar. Made in China
- Build Solid spruce top, mahogany laminate back and sides, top and back binding, set maple neck with ‘Traditional Even C’ profile, 12”-radius ebony fingerboard, 22x Jescar 47104 frets, single-action truss rod, bone nut
- Hardware: Nickel-plated Gotoh aluminum stop tailpiece and a tune-o-Matic bridge with hard zinc saddles. Gotoh 1:18 ratio HAP sealed tuners
- Electrics: 2x custom-wound Lollar Imperial humbuckers, master volume, 2x tone, 3-way toggle pickup selector
- Scale Length: 24.75”/629mm
- Neck Width: 43.8mm at the nut, 54.5mm at 12th fret
- Neck Depth: 22.1mm at the first fret, 23.0mm at 12th fret
- String Spacing: 36.8mm at the nut, 51.6mm at the bridge
- Wieght: 2.49kg/5.5lb
- Left-Handers: No
Feel & sounds
For reference, the neck is slightly wider than a present USA Les Paul with preferably a classic curved’ shape which has well-tapered shoulders but comparatively small taper depth-wise in the lower to upper positions.
The 1st fret thickness of 22mm is similar to Gibson’s present’50s profile, but it moves into a lot of the’60s thickness of 23.3mm from the 12th. There is lots of breadth to the frets, also, even though they’re not too high, and that, in conjunction with this 305-mm (12-inch)’plank, reminds us of an older Gibson who was reflected in the afternoon.
In reality, it’s among the several subtle features which produce the throat feel very played, together with the slightly rolled fingerboard edges. The nut and frets are fettled, and it is not the sole Eastman we have played in which the build quality appears higher than its cost.
We’ve questioned using this old-school single-action truss pole in prior reviews. However, we can see here the installation is slinky, pretty much 1.6mm, both treble and bass with probably a bit more relief than we would typically set.
It plays superbly. There is an almost delicate sense to Romeo in comparison with a downsized center-blocked Ibanez semi. By design, it is a gorgeous tool to play padded but balances perfectly on a single strap. But while the top-fret accessibility is fantastic for an archtop, that rear-placed heel strap does impede it a bit.
It will not have enormous acoustic volume, even though it’s relatively roomy and fuller-sounding than the usual spruce-topped PRS Hollowbody. Not as solid-sounding unplugged in comparison with this old Ibanez AS-50.
You can probably imagine the kind of plugged-in voice which Romeo has, but the caliber of these exact velveteen-sounding buckers is a real joy. Not only are they matched as a set, but also in their treble to bass response.
The bridge stops being sharp or honky, the throat is superbly thick but keeps good note definition using sterile basses, and, importantly, the transition between the two is relatively smooth.
The controllers work as you would expect, although many players may choose the double volume and one tone, primarily if you reside in the mix place, which adds a little glow as ever. As is, however, it is a cracking soul tone. We feel as if we ought to be wearing a suit.
Romeo is an entirely modern take on the electric archtop, and it is built exceptionally well.
Prove Romeo a little grit, and there is a PDF-y flutey-ness into the neck and incredible girth in the bridge, which takes the device into combination territory or quite ballsy roots stone.
It is a comparatively lightly developed Hollowbody, therefore keeping opinions under control may not necessarily be as simple as a center-blocked tool. Nevertheless, locate the sweet spot, and matters get severely excellent. Romeo has a couple of tricks up his sleeve.
- Top Wood: Solid Adirondack Spruce
- Back/Sides Wood: Solid Rosewood
- Fingerboard: Ebony
- Tuners: Chrome vintage open-gear Gotoh
- Bridge/Saddle: Ebony/Bone, 2 11/32″ Spacing
Having a brand new headstock design that permits a clean and comparatively straight string route behind the nut, and a pair of smooth-action 1:18 ratio tuners, the capacity for tuning stability issues was minimized.
This guitar seems like it might take care of a gig straight from the delivery box, and its functionality is every bit as enthralling as we all recall from our first experience with the Romeo layout at Summer NAMM back in July.
Eastman’s Traditional Even C profile is just as advertised, and the gloss nitrocellulose end is devoid of haul or stickiness, which can help promote a speedy and fluid texture.
As you may expect from a hollow body, there is no lack of acoustic, together with lots of harmonic attention and remarkable sustain in the zipper end.
Over the 12th fret, the acoustic tone is sweet and smooth, and although high-register only notes do not approach solid-body amounts of sustain as they want a center-block-equipped semi, Romeo indeed offers more rust to play than a normal ES-330.
The amplified tale of Romeo is among three different functions. In the bridge, you receive a flexible mix of ES-335 and Telecaster using a raunchy twang; it enjoys alt-country up to it will windmill classic stone, and it rewards grinding in.
The hollower center position onto a twin-humbucker archtop has long been a favorite for Leo Nocentelli-style funk. Still, the Romeo appears to tilt the scales a little farther towards Fender using a mild, sandy flavor.
Here, it promotes the type of soulful Curtis Mayfield and Jimi-style strand vases generally earmarked for Stratocasters, particularly with the guitar’s volume pumped back a few notches.
This spruce-topped Hollowbody is possibly at its most predictable at the neck position since there are sophisticated blues and smooth mix tones. We concur with Otto as it concerns the partly potted Lollars.
Those custom-voiced Imperials are a fantastic match with this particular guitar. Clarity, atmosphere, dynamics; what you need from a terrific vintage-style humbucker is correct and present and functioning in conjunction with Romeo’s natural timbre.
With only one master volume along with a set of tone controls, you do not get as much space to maneuver because you want out of a wiring harness that includes human pickup volumes.
Nevertheless, the Orange Drop-equipped tone baskets provide loads of high-end roll-off plus a sweep, which work nicely with overdrive for Cream-era Clapton and thicker Texas bluestones.
Developing a brand new body shape that seems simultaneously fresh and comfortable is among the most challenging tricks in most Guitardom. Still, we all believe Otto and his coworkers in Eastman have pulled it off.
Sure, there is some Gibson in there, a piece of Telecaster, a few Rickenbacker, and possibly a pinch of Gene Baker. Nothing is devised in a vacuum, but Romeo is a body shape that Eastman can proudly call its very own.
Additionally, it is a layout that the company sees as a stage for a complete assortment of tools from the long run. With this evidence, that is undoubtedly no catastrophe.
- A cool new archtop design from Otto D’Ambrosio.
- Build and setup is tip-top.
- The Lollar Imperial humbuckers are the bee’s knees.
- Big value for money.
- Mismatched hardware.
- No left-handers.
Romeo guitar is an entirely modern take on the electric archtop, and it is constructed tremendously well with its habit Lollar Imperials function as icing on the baked cake. A guitar to fall in love with.
Last update on 2020-12-21 / Affiliate links / Images from Amazon Product Advertising API