Eastman Guitars AR810CE

Features excellent for someone who want a single, floating humbucer. The volume and tone controls (tone added to newer models, well done Eastman),nicely hidden below the scratch plate ('thumb operated'). Wouldn't mind inlays on the nack, but on the other hand the plain, ebony neck looks stylish and makes it look different. Dots on the top neck edge get you going anyway.

Got it for exactly what I wanted it for. Got other acoustic and electric guiatars but not a jazz guitar, 17", solid carved arch top. Sound is excellent for this type of guitar, loud enough to sing along with it (got a strong voice). Electric sound, can't find problems, nicely balanced for all strings, volume and tone controls give a nice control.

Excellent, straight from the dealer. Action correct not a single blemish. Reading some older reviews, I think Eastman got a long way. I had new guitars in last five years from a couple of very expensive US brands and still had to 'return to base' for fixing. Overall, immaculate manufacturing.

Can't comment, too early. I guess with a solid wood guitar one always needs to be a bit more carful then with the plywood.

No coment as yet.

Playing guitar for more then 40 years. Second jazz archtop (reminds me of my first gutar). For the price, an amzing value.

Mine's an 04 violin finish w plastic cello-style case that has no carrying compartments. A couple of little streaks on the finish. The usual layout but pickup wires seem a bit exposed, hence a bit of buzzing when plugged in. Otherwise just about right, though not without a period of getting used to the "woodiness" of the tone.

Bought in Jan. '06. Good for my purposes, i.e. rarely amplified, swing ensemble playing. I don't gig much but electric sound through my old Roland Cube 60 is lovely.

I would have preferred the sunburst finish but am getting to appreciate the violin version.

Not sure but I think a little "feedback-proofing" would be in order in any loud environments. No plans to gig with this unit so no intelligence to share.

Long time player, 50s Guild F-30, 98 US Tele, non gear-freak, this guitar encourages an elevation of one's game. A serious archtop, easily equal to those considerably more more expensive. As others have advised, play one first wherever possible as consistency may be an issue.

I am sure you know the specs by reading the other reviews so I won't relist them. I think the features are pretty much what is normal for its catagory.

I love the acoustic and electric tones of this guitar, I have compared it to some more expensive models and the Eastman holds its own and then some.

Mine undoubtedly has the best sunburst finish I have ever seen, it is simply beautiful. There is a tool mark or two on the fretboard that wasn't completely buffed out so I will take a point off for that.

The finish is, by design, pretty thin which I think improves overall tone. Thiner finish of course won't wear as well as say a poly urethane would but then again it sounds better. The hardware seems fine, I don't foresee any problems with it. Basically, I would say it is overall maybe 2 points below a Gibson L5 which costs three times as much.

Honestly, for the money, I don't know how you could find a better archtop. I am so impressed that I am recommending them to anyone who'll listen. I am also planning on purchasing another one so I can keep one at work.

Well, I have heard a lot of 'excitement' about the Eastman guitars. As with most people, I was enthused about all the publicity surrounding this China handmade instrument and decided to try the AR810CE . . .I'll never make that mistake again!

I ordered my first Eastman through the internet. It had a large crack in the head face. The dealer said it was cosmetic only, and I could live with that. After all, I was after the playability and the sound. Well, the dealer gave me another new guitar in case. This one had four dents in the side of the body. The pickup was not properly attached to the pick guard and bounced around; the pickguard had horrible scratches on it, and the guitar had something rattling on the inside it (probably a connecting cable of some sort). And this was supposed to be a new instrument?!

When plugging it in, there was extreme 60 cycle hum. It appeared to be a grounding problem, so I called the U.S. distributor and he said it was a faulty design. He also said the factory in China was making some mods to properly ground the instrument with a new tail piece. I returned the instrument to the dealer. He sent another 'new' one, but this second one was even worse than the first.

The guitar had an extreme grounding problem that was very offensive. I called the dealer and he wasn't aware that the Eastman factory had a design problem and failed to make proper grounding. Then, I called the U.S. distributor and discussed the problem with him. He was aware of the grounding issues and said the factory was redesigning the tailpiece to correct the problem, and that the new tailpiece was coming out on the new models. Properly grounded, it sounds somewhat acceptable, but it not, the noise is noticeable and very annoying.

The sixth string buzzed on the frets.

The dealer should have never sent both guitars out without them being fully inspected and set up properly.

I've been playing for 51 years. The Chinese are to be applauded for making instruments handmade and without the use of power tools and assembly line operations. But they have a lot to learn about quality control.

All that glitters is not gold . . . even though the price seems reasonable in comparison with other jazz guitars, the price is still too high for the two guitars I have experienced first hand. Some dealers tried to calm my concerns by saying the price is far below comparable jazz guitars. But also so is the quality.

They are still new to making guitars, and maybe in a few years they will correct some of their deficiencies. I think you are lucky to get a good one. It's been a hit and a miss for me. Above all, I wouldn't recommend buying this one on the internet as you may not be happy. If buying one, so see it and try it out. Inspect it thoroughly before purchasing. So for now, I wouldn't recommend them to anyone.

Made in April 2005 in China, solid top f-hole archtop guitar. Single floating pickup (kent armstrong designed I believe), thumb-wheel volume under the pickguard. Cheapo immitation grover tuners that don't seem very good. Beautiful glossy dark sunburst finish, lovely flame on the sides and back, solid ebony bridge, ebony fretboard, metal tailpiece with an ebony cap on it to make it look like the benedettos, 24 3/4 scale. It came with a really shiny cello-style case that seems indestructable. The case has a rubber seal that seems to make it air-tight, it has 7 latches, and back-pack-type hooks and straps. Standard features for a hand-made solid top archtop. Better tuners, a tone pot, and a strap-button on the neck-side would have been nice, but the rest of the features are well executed. I did immediately have a neck-side strap-button installed.

The acoustic sound is a "10", so much more than I could have hoped for with a guiltar in this price range. It's loud, even, responsive, no dead spots. 3 guitar playing friends have remarked on how excellent the acoustic tone is. The original pickup was a little muffled-sounding to my ear, which knocked the overall rating down some in this category. I almost immediately replaced it with a Benedetto S6. Now it sounds wonderful through my Fender Acoustasonic Jr. and Blues Jr. amps.

The paint job and finish, fret work, wood quality are all top notch. There were two slight flaws though (that got me a nice discount). 1: the binding on the pickguard was coming unglued at one point. I don't see this as too big a deal. I assume that the humidity changes here in the midwest had much to do with it. 2: there was a finish scratch in the top that was almost surely inflicted by some bozo at the Chicago guitar show where I purchased the instrument. For the money, the craftsmanship is really remarkable.

I've had the guitar only a month, and it seems ok so far. Solid archtops like this seem to be sensitive to weather/humidity changes, so I'm keeping it in the case. So far, so good. I think it would be good for solo/duo/small-group jazz gigs, but I wouldn't take it into a smokey bar in the dead of winter. Jazz boxes like this don't hold up well in general under nasty conditions. For it's type/category, it seems as reliable as any other I've seen.

I haven't needed them yet.

I've been playing since I was 9. I also own a Heritage H-555, a Fender American Strat Standard, a Manuel Rodriguez Model B Cutaway, and an old Charvel acoustic guitar. For amps I have a Fender Acoustasonic Jr, a Fender Blues Jr, a Mesa-Boogie 50/50 w/ a Mesa Boogie 1-12 cabinet, and a Sansamp PSA-1.

I shopped for a jazz archtop for over a year before buying this one, so if it were stolen or lost I'd cry and be very depressed, and probably replace it as soon as I could find another specimen. I would consider a Heritage Golden Eagle too...during my search I encountered one that was incredible but just too expensive for me.

I love the acoustic tone the most, and after that the low-action and easy playability. I wish it had a tone pot, I wish the tuners were real grovers, and I wish they had put a neck-side strap button on it.

Chinese Made in 2003, early 400's serial number. 17" Cutaway Archtop. Spruce top, maple back and sides, 3-piece maple neck and ebony fretboard. All hand carved.
Kent Armstrong floating humbucker, mounted to the narrow ebony "Chuck Wayne" style pickguard. Single volume knob, and an endpin mounted jack.
Mine has a "Golden Age" Lacquer finish, which is an aged blonde. The finish is very thin - which is a GOOD thing for an acoustic archtop guitar. The guitar can breathe, and isn't choked by a heavy finish. It has 7 ply body binging, 5 ply neck binding and 3 ply f-hole binding.
The bridge is all ebony. The tailpiece is the original gold-plated, all-metal bridge. Criticized by a lot of people as "cheap-looking", on newer guitars there is a new ebony and metal tailpiece. The bottom-line is that the tailpiece does have an effect on the tone, and its a good one. I don't mind it.
The tuners are gold plated imperial style imports. Work fine.
25" scale neck, fairly contemporary profile, not very clunky.
Comes with an Eastman case. The case looks like a flight case, but is more like cello case. Very lightweight, and some what flexible. Think of it as a stiff gig bag. I have flown the guitar using a "Case Extreme" Jumbo over-case, with the Eastman case inside. It worked like a charm.

I play swing guitar. This includes the styles of Charlie Christian, Freddie Green, Django Reinhardt and chordal soloists like George Van Eps, Allan Reuss and Carl Kress.

First thing first, this is an acoustic guitar. It has a pickup on it, but it is built and designed for extraordinary project and resonance. It is by far the best sounding acoustic archtop I've seen. It rivals old Epiphones - it's that loud. You will not do better for an acoustic archtop for at least double or triple the price, if at all. The thin finish really allows the guitar to sing.

As far as the electric tone, its great too. You'd think the missing tone know would be a problem, but it really isn't. I play through tube amps, since I'm looking for a late 30's, early 40's sound. The pickups have plenty of output, without being overkill.

For a jazz guitar you really can't go wrong.

The guitar came setup with nickel 12's and fairly low action. Even though that was not the idea set up for acoustic volume, it was still huge enough sounding to bring the crowded music store to a stand still.
I have, of course, set it up even more appropriately. I put a set of 13's on it, replacing the 13 and 17 with a 14 and 18. The heavier gauge helps balance out the single notes while soloing. A normal gauge seems to "thin-out" when you get to the high strings - on any acoustic archtop guitar. Additionally, I want an acoustic "bronze" sound, while still being able to plug the magnetic pickup into an amp. I keep going back and forth between DR Zebra Wound (both bronze and nickel) and GHS White Bronze (not actually bronze, but treated to sound like bronze). Honestly, I have trouble really distinguishing between the styles sound-wise, mostly because the difference of putting new strings on is so great.

Now the bad news - there are some slight blemishes on the finish and binding. They are all so miminmal that I really don't care.
When you buy an acoustic archtop, you are buying the skill in carving the top - for such a well made guitar in every aspect, I'm willing to put up with a couple negligable flaws. The good news is that the company keeps getting better. I've seen a lot of these guitars over the last two years, and newer ones are much more consistent.

This is carved top, acoustic guitar. Be realistic.
That being said, the guitar is very solid. I'm a klutz, so my guitars get beat up - bad. The thin finish is plenty durable. Don't be afraid of the guitar showing every nic and scratch.
I use it as much as 4-times a week on gigs, it's flown to hawaii (massive humidity change with no problems), and it's been on TV! (My band was on the Ellen Degeneres show on 2/14/05)Can I depend on it? I do every gig.

I used to have their customer rep on speed dial. No really.
They are very attentive to customer service, and answer qustions on their web forums regularly. That being said, they are a VERY small company with a lot of guitar out there. Just being reasonable and you shouldn't have any problems. Oh, and lifetime warranty to the original owner.

I've been playing for 13 years, specializing in swing guitar for the last 6. I don't do the "Jump and Jive" stuff or the "Great American Songgbook" 50's crap, I mean real 1930's and 40's jazz. Goodman, Basie, Shaw, etc. Charlie Christian, Freddie Green, Allan Reuss, Django, etc. If you want more information check www.campusfive.com.

For this style of guitar playing, you will not find a better guitar new. Seriously - you will not find better.

Frankly, I'm looking at getting another Eastman - this time a 16" non-cutaway.

'04 model from the far east. Looks just like a Benedetto Manhattan from 20 ft away. Kent Armstrong-"designed" floater, cheapo Super Rotomatic knockoff tuners, beautiful flamed woods and finish. Molded case (the newer ones are better than the early flimsy one) with a rubber gasket(nice touch).

I play small combo jazz with and without drums. I originally went in to buy a laminate top (Heritage550), but couldn't resist taking a second and third look at this budget carved instrument.
I will warn you, if at all possible, do not buy one sight unseen. In total, I played about 15 810CE's and they all sounded different. The best stocking dealer around here (Blue Note Music, Berkeley CA)had 8 on hand, so I got acquainted with every one before making a decision based on the best acoustic properties. Of those, 5 did not sound good at all to my ears, but 3 had a very nice tone. Of those, I didn't pick the one that sounded best because it was the blotchy red-brown finish which I haven't grown to love just yet. The second best was a gorgeous sunburst, which I made my own.
I've noticed that some of these guitars have the pickup pressing tightly against the top which is acoustically similar to pressing your thumb against an important speaking portion of the soundboard. Try holding a chord, and lifting the pickup off the top. The bottom range fills out nicely without this unwitting stifler. I fixed this on mine so the pickup floats and couldn't believe the difference. YMMV.
I would characterize the acoustic tone as bright with a reasonably full bottom, but not much midrange at all. It gets brighter as you travel north, those high notes being very very responsive. It is very loud. Amplified, it is everything I want from such an instrument, clean and even with some overtones coming through.

I have seen a few of these come from the factory with very high action although the bridge was bottomed out, necessitating some working of the bridge base. It is possible they took on a different neck set in transit, i guess, but I was not impressed. I also saw a few color finishes which had blotchiness or uneven staining(fingerprint smears even), which I think is unacceptable, even for a $2K guitar. My guitar looked great under the dim store lights, but on close inspection, I see a few sloppy things, such as stain left on the binding(not scraped/wiped) prior to spraying the lacquer coat, burrs in the bridge base which left deep scratches in the top all around the bridge, glue from the frets which didn't get wiped off the fretboard in time, stripped screw holes on the pickguard, etc... Some of the older guitars('03 i guess)had chunkier necks, which isn't necessarily a bad thing, just different. I also saw some variation in the binding approach to the nut-area on the headstock. One just looked wrong, like they were experimenting.
The wood joinery all looks tight and bracing appears sound. I already tossed the tuners and tailpiece and replaced with Grovers and a benedetto. So far, I like the hidden thumbwheel volume control. I also really like the (new style) fingerrest which is very smoothly sanded, allowing my anchor finger to slide along rather than stick in place. frets are just OK, IMO, not the greatest job I've seen. The endpin jack is well secured into the block and thankfully has not pulled out with the sacconi adjuster in place(crossing fingers).

I plan to use this for quiet trio gigs and am not at all concerned about getting it a little dinged up. My main guitar is an 80's Benedetto Manhattan which almost never sees a gig. I am looking forward to testing the feedback limits of this very resonant instrument soon.

Don't know anything about Eastman, but I really like my dealer, Blue Note Music, and I am confident they will take care of me as needed.

As I said, this Eastman will be my "backup" for my Benedetto. Comparing the two, they are NOT alike at all. This one is noticeably louder, but very bright. The Benedetto is very mellow and woody with a bit more midrange. The Eastman is not as satisfying to play, but it is still enjoyable. And for $13K less money, c'mon, this is a great deal in a carved top jazz instrument! Everyone should own at least one.

My guitar is a 2004 (made in China) solid wood, hand carved 17 inch archtop which I bought primarily for backing as a vocalist. I had several laminated archtops which were OK to very nice plugged in but not up to par acoustically.

I had been following the development of this company for several months and suggested that a dealer friend, J Hale Music in Hartland, Wisconsin consider taking on this line. Jeff had gotten a used 2003 Eastman in and there were people lined up to buy it. I was one of them but too far down the list. I played the 2003 and was amazed at the quality for the price.

When his first 2004 came in as a dealer he called me, as promised, to check it out. I found it almost perfectly set up out of the box (Jeff has all high end guitars set up by Denny Rauen..about as good as it gets). I couldn't find anything that Denny had to do from the original set up except polish out a minor chip in the headstock finish.

I like the look (it's basically a Benadetto rip off and not that much a K Mart version) and the acoutic sound. Amplified it seems to reproduce the acoutic qualities very well until you get way up on the volume. I personally like the hidden (pickguard) single volume control for the way I use the intrument.

After a month of ownership I think I hear the tone improving and things opening up.
I have since played several other 16 and 17 Eastmans which have come to the store after my purchase and found all of them pretty close, despite what other reviewers have said, at least to my singer's ear. I'm not much guitar player by professional standards but am very tone conscious for standards and jazz on an archtop. I think the Eastman has a pretty accurate vinate, woody sound. It's not the best archtop I've ever heard but right up there in the top 3 or 4 at a fraction of the going price.

The improved finish details from 2003 to the 6 or more models I have seen in 2004 is quite dramatic. One 16 inch sunburst that was snapped up by a well know Wisconsin teacher, jazz player and recording artist had a pattern in the maple back that was so outstanding it almost looked fake.

My guitar is the antique red violin finish which is becoming the Eastman look. I have seen a rare blonde AR810CE and several sunbursts. They all have great wood patterns, some a little better and the one mentioned above which was truly amazing.
In pictures taken from an angle you can see the grain in the top the finish is so thin (that's good thing). Eastman, at least on the red and other violin finished, uses a spirit varnish for an antique look then puts two coats of nitrocellulose on top and rubs the lacquer down almost to the color layer.

My guitar is without finish flaws. Others I have seen have very minor indentations in the finish or slight blemishes. At this price point the average is very good although not consistently up to a Gibson or Heritage or other models costing 2 to 10 times as much.

I like X bracing and the volume and tone it produces. Scale on Eastman websites is listed as 24 3/4 onthe 17 inch and 24 1/2 on the 16 inch. All the 16 and 17 inch models (six or so) which have come to the store here so far in 2004 measure 25 inches.
I'm not a good enough player for this to matter but for those who care about such things it should be noted that this is a new company with limited advertising and promotional resources. I would suggest that a buyer check out in person to make sure the one they get is what they want.

The new ebony/metal tailpiece and 2004 pickguard design really makes
the guitar look much more expensive. Finger board and headstock facing are also ebony. The F hole and other binding is flawless.

I use with both a Crate limo battery amp for small spaces and practice and a Fender Hot Rod DeLuxe. The Armstrong pickup seems a nice match for the tone of this model. It is on the bright side compared to some laminated Epiphones I was playing, at with the higher strings. Amp tone controls easily adjust this and provide a rich, full representation of the acoustic qualities. For smaller rooms the optimum effect is just enough amp to add some bass but not enough to overshadow the acoutisc tone.

I even use it for some country backup and, played a little closer to the ebony bridge it's like a second guitar.

It's pretty easy to play even with the high action I use for unamplified purposes. There were NO problems with frets, pickup, bridge, whatever. Perfect out of the box, including intonation.

Fit and finish on mine was flawless.

It seem sturdy enough for gigging in just about any atmosphere. I'd keep mine in the case and use a laminated model for outdoor, high humidity playing.
The finish is thin and will probably scratch or chip easily. In these days of poly finishes which are so thick and durable you wonder if there is a guitar hiding in there, I'll go with this feature any day.
The cost is so reasonable you shouldn't be afraid to use it.
No strap button (except the combination plug, button on the end, which I love, by the way). Eastman forum suggests any added button should go on the heel and NOT on the rim. Evidently the handcarved rims are vulnerable and should not be punctured lest the weather get inside down the road a few years.

The forum and other customer support things I've noticed are way beyond what you expect these days. The U.S. guy, Gordon, is kind of like dealing with the luthier. He really knows guitars and has been part of the development and contining growth and high demand for this line.

Been playing 50 plus years, but more seriously the last two.

I would replace this guitar if lost or stolen immediately.
Only a Heritage top of the line Golden Eagle has sounded as good or maybe a little better since I played a D'Angelico owned by a friend in 1953. It's a great guitar for my vocal backing.
I have a 44 year old Epiphone flattop (FT-110..all maple back and sides), a Martin slot head, 12 fret, a Peavey solid body and an Epiphone Howard Roberts, 1996, and Emperor Regent , 2001 (the last two are being sold because the Eastman does what they did enough better and I never touch them now). They are both too good to sit in a case.

It's all I can do to keep from buying a 16" Eastman just to have another variation and finish.

Made in early 2004.
Standard 20 fret Benedetto, DAngelico style 17" solid carved archtop.
All hand carved solid woods - spruce top, maple back and sides.
Kent Armstrong floating pickup with thumbwheel volume.
3 piece maple neck.
Ebony fretboard, 2 piece bridge, finger rest, and tailpiece
Thinly (in a good way!) applied lacquer on a "vintage" sunburst finish.
Tuners are Jinho - gold plated and not very responsive - The ONLY aspect of the guitar that is subpar are the tuners.

I give it an 8 based on the subpar tuners and the slightly annoying case.
Case is a fiberglass hard case. The case is also a little disappointing in that it does not have an inside pocket, but does this wierd velcor attached bag that you cas store picks, strings etc.

I play straight up jazz, solo chord melody, swing, and big band music. This guitar suits it perfectly. Played acoustically it has a tight woody sound - I string it with DR Zebras 12s and use Clayton Ultem picks. - a little weak on the bass side (I suspect it will open up over time). Overall the 810 has a the punchiness of an archtop, some of the tonality of a flat top and the usual archtop characteristic of weak bass.
On the treble side the guitar sounds great. Very sweet highs with moderate sustain. Varying the picking postion give some variety too.

I played 10 different 810CEs and they all sounded different. The one I chose had the tonal qualities overall that I personally wanted.

I would recommend palying as many of these guitars as possible as there seems to be quite a bit of variation.

Amplified the Armstrong Pickup sounds like...an Armstrong pickup. Amped the guitar has clear open and woody tone. My main gigging amp is a Princeton II with a fender special design speaker.

This guitar feeds back a little more than my 1988 L4 ces or my Mark Campellone Standard 17"

Rating 8. Maybe it'll be a 9 over time as the guitar seasons. I dout the bass is ever going to open up to the point where it is as strong as my MC Standard.

I am spoiled by the MC Standard

Set up - The intonation was way off when I got it. Simple enough to set. Now that I've done so it seems to be fine.

The finsish is really beautifull. Sunburst, but light enough at the edges to still see the wood grain. The top and back are nicely bookmatched. The top has a few dark spots in the wood grain, but I don't consider them to be flaws.

The bracket that supports the pickguard is a little low and rattled. I did put some adhesive backed padding on the bushing that contacts the unerside of the pickguard in order to dampen a slight buzz.

Will this guitar withstand live playing? I believe so. Since I'm sitting in a chair when I practice and play out I see no real difference. I almost always retune every 3 or 4 songs anyway - one of the advantages of playing solo in cafes and restaurants - people are rarley hanging on your every note!

Does the hardware seem like it will last? Ultimately I will probably replace the Jinho tuners with Schallers.

Is the finish good enough to last, or does it seem thin and easy to wear off with lots of playing? This company has been making violins and cellos for how long???? I am not worried about the finish.

Would you use it on a gig without a backup? I actually bought this guitar as a backup guitar for my Mark Campellone Standard. The Campellone is my gigging guitar. The 810 CE is for taking on vacation or in the unlikely event the MC is out of commssion.

I would certainly gig with the 810 without a back up.

I give it a 9 purely because of the tuners.

Lifetime warranty

I did call and ask them to mail me a pick guard support bracket, which they did immediately.

How long have you been playing? 35 years - 15 Jazz

If it were stolen or lost, would you buy it again or get something else? I would try to replace this guitar with another 810 - if I could find one with the same tonal qualities.

What do you love about it? Looks and overall tone.
What do you hate? Jinho tuners are not so great. Case could have a built in pocket

What is your favorite feature? Gorgeous finish

Did you compare it to other guitars?

Compared it to several other 810 CEs chose this one for tone.

I purchased this guitars from Guitars N Jazz in Summit NJ. A great experience. Since he is by appointment only there was no real or imagined "competition" from other players in the store. Plus, Lou - the owner - was a pleasure to do business with. A real gentleman.

this is brand new (2004) made in china by people who aren't intimidated by carving wood. It's all carved. when you carve a piece of wood you are able to understand it's characteristics. I spent 17 years in pro-woodworking.
there is one kent armstrong pickup with one volume control. all electronics are respectfully and dutifully tucked away in a professional manner.
spruce top. figured maple back and sides. a sensible finish; not 'encased' in plastic. triple bound ebony fingerboard. metal trapeze bridge.
17" jazz box - comfortable to hold. the tuners are the only thing that aren't first class.
25" scale length (very nice). and i might add - with the 12's it came with - this thing was intonated - very impressive; somebody cared.
the case is weird - it instantly reminds one of a cello case - which makes sense. the case is well made and durable if very out-of-the-ordinary. the surprise was getting a nice little pouch with a hook-on carrying strap in it; unique and positive.

the sound is something i think i will be comfortable with over time. a spruce top takes some 'breaking-in' - yet you can glean a clue beforehand. this will age quite nicely. it's hard to think that - when this is 5 years old - many guitars will compete with the quality of tone. (i just ordered a second one)
variety? that depends on your attitude and hands - not the guitar - doesn't it? this guitar WILL respond to your presentation.
this is as full and natural a sound you can expect from this type of guitar. very satisfying.

set up was perfect. i've bought way too many guitars - this is the only one that gets that assessment.
the 'figure' on the top is accurate if aesthetically dubious. no, this isn't the best quarter-sawn spruce i've ever seen. it remains to be wheather the quality of sound is diminished - i doubt it. again, when you carve wood - you 'respond' to it.

gold hardware sometimes lasts longer - sometimes shorter. time will tell. who cares? i'll probably replace the tuners within a year anyhow.
other than that the hardware is quite servicable.
the finish far exceeeds Fender or Gibson or??? you have to install your own neck strap button (pretty standard on an acoustic guitar)

i don't know.