“There’s an almost played-in vintage feel to this new Offset that’s appealing: it doesn’t feel like a glossy new guitar”: Eastman FullerTone Offset '62 review

What is it?

Eastman’s move away from well-received and very respected ‘inspired-by’ designs began back in 2019 with the thinline archtop-inspired Romeo, which – as good as that guitar is, not least its LA and NYC variants – seemed a little like a toe-in-water indication of what might come.

But clearly a fire had been lit and next we saw the solidbody Juliet models with their Firebird-like raised centre yet otherwise very classic-inspired original style.

The gauntlet was thrown down with Eastman’s head designer Otto D’Ambrosio’s eponymous mini-range of USA-built boutique-style electric guitars: really classy original designs and high-build level but with a price to match and limited availability.

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A wrong turn? Not at all, as the essence of those guitars was distilled into the two-guitar FullerTone range introduced last year. Made in China at Eastman’s own long-running Beijing facility, and named after the unique neck joint first seen on those D’Ambrosio models, these dropped into a far more affordable everyman category and stood out in a market dominated by copies with the wrong headstock. Seriously good guitars.

Catching up with the story, at this year’s NAMM Show, Eastman launched the Kauffmann series based on the D’Ambrosio designs but artfully aged and relic’d by Albert Kauffmann: “Made in Holland, Born for Tone.”

It was these guitars that grabbed the show headlines and so many missed the intro of the third FullerTone model, the Offset we have here, which references the design that already features in the much higher-end D’Ambrosio and the newly launched Kauffman ranges.

So, the third FullerTone model introduces the very Juliet-like body shape, a single-cutaway like the SC’52 but with an offset lower bass-side bout. That aside, there’s plenty of commonality, not least the Fender-scale 24-fret roasted maple neck with its unique two-bolt fixing.

This complex design means that the neck remains curved as it goes into a similarly shaped body pocket; there’s no extending body heel. And, although the neck joins the body at the 16th fret on the bass side of the body, access is easy to the 22nd fret, and a little stretch to the 23rd and 24th.

The Offset is offered in two new colours, Dakota Red and our satin metallic Gold (the SC’52 and DC’62 models come in three choices each), which we have to say is pretty classy. Under the finish is a roasted black limba body with a standard 45mm Fender-like thickness, a light ribcage cutaway and stylish forearm chamber.

While the Offset’s treble side is pretty much identical to both the SC and DC models’, albeit with seemingly a slightly more pointed treble horn, the large scratchplates of all three appear identical. Here, the anodised aluminium scratchplate contrasts the gold colour, while the Dakota Red model goes for an equally contrasting gold. We get the same three controls, too – master volume and a tone for each pickup – with their amp-style white plastic knobs, and at the lower tip is the output jack.

Last year, we enjoyed the Tonerider soapbar-sized humbucker with its Gold Foil-style cover used in the neck position of the FullerTone SC and bridge position of the DC that we tested. We get the same here but in the bridge and neck positions, both directly mounted to the body and not attached to the scratchplate.

Unlike either of the earlier models, which use a three-way lever pickup selector switch mounted on the scratchplate, the selector switch here is toggle-style and is rear-mounted on the bass-side shoulder.

As the name implies, the two-piece vibrato system, unlike the Strat-style wiggle-stick of the DC, is offset in style with a tune-o-matic bridge and lower mounted vibrato.

Both parts come from the extensive Göldo catalogue and are designed by Duesenberg founder, Dieter Gölsdorf. These are typically well-designed pieces, but the ‘DG Tremolo’ plays with the offset style considerably.

While it’s a direct retrofit for that Fender classic, instead of the pivot point being at the base of the unit it’s much closer to the separate bridge, meaning that the string length behind the bridge is considerably reduced, as well as giving a slightly steeper back angle.

The strings top-load into keyhole cut-outs directly behind the two pivot points, and behind those is a tension screw – for the large single spring – and the mounting for the fully adjustable arm.

The ‘3-Point-Vario Tunamatic’ bridge is well used by Eastman and Duesenberg, and aims to reduce any rattle from the saddles, which are spec’d as stainless steel. In use, the bridge lightly rocks with the vibrato and the saddles appear to have been carefully filed.

Certainly, for typically light use, the system retains its tuning very well, obviously once the strings are stretched (and out of habit) we added a touch of lubrication to the saddle slots.

The actual plating of the vibrato has been abraded slightly perhaps to match in with the dull, old-looking pickup covers, although the actual bridge looks brand-new. Hey, we can live with that.

Specs

• Price: $999 | £899 | €999
• Origin: China
• Type: Offset single-cutaway solidbody electric
• Body: Roasted black limba
• Neck: Roasted maple, ‘medium round’ profile, ‘2-bolt long tenon’ body join
• Scale length: 648mm (25.5”)
• Nut/width: Bone/43.2mm
• Fingerboard: Rosewood, pearl dot inlays, 305mm (12”) radius
• Frets: 24, medium-jumbo (Jescar 47104)
• Hardware: Göldo DG Tremolo and ‘3-Point-Vario Tunamatic’ bridge, unlogo’d Kluson-style tuners – chrome/nickel-plated
• String spacing at bridge 51.5mm
• Electrics: Tonerider Soapbar Humbucker w/ custom Goldfoil cover (bridge & neck), 3-way toggle pickup selector switch, master volume, individual tone controls for neck and bridge pickups only
• Weight (kg/lb): 3.1/6.75
• Range options: Also in the FullerTone range are the SC’52 (£799) and the DC’62 (£899)
• Left-handed options: No
• Case: Gigbag
• Finish: Gold (as reviewed), Dakota Red – Truetone satin
• Contact: Eastman

Playability and sounds

As with the FullerTone SC and DC, the feel of the Offset is really good. It’s light in weight with a lovely balance, and every facet seems player-informed, not least the neck.

It certainly has a roomy feel, a relatively big classic ‘C’, and while we’re told that its inspiration comes from the archtop world, we can’t help thinking ‘old Telecaster’, especially in upper positions. It’s 43.2mm wide at the nut (with 36mm string spacing), 22.2mm deep at the 1st fret, increasing to a hand-filling 25.7mm by the 12th.

Along with a good setup, the medium tall frets really suit the guitar, which feels lively in the hand from the off.

Whether or not it’s the physical size of the pickup – think mini-humbucker like a good Les Paul Deluxe and you’re in the ballpark – the bridge isn’t overblown in output or midrange focus; one reason we found it worked so well in bridge position on the FullerTone DC.

It veers on the single coil side of the tracks, with a little smoothness to the high-end, plenty of clarity but little spike. It’s very responsive to pick strength and position, too.

At the neck the clarity stops the mud, but, of course, it is a thicker voice, and it’s actually worth spending some time balancing the outputs of the two (via the easy height adjustment).

On receipt of the guitar, the neck overpowered the bridge a little, giving the impression that the latter was a little thin and weedy, but very small adjustments bought a near-perfect balance. As a consequence, the mix is very good, nicely Fender-y with a welcome sparkle and good depth.

Adding some hair and grit to our amp works superbly, too; the low-output ’bucker voice at the bridge means plenty of definition, rootsy and country tinged. We’re back in Laurel Canyon in the late 60s. There’s certainly some Gretsch in here, too, not least the slightly snappy response, and we can’t help thinking the vibrato is helping that.

There’s less of those typical offset artefacts, especially with its shorter behind-the-bridge string length; it’s a little more direct-sounding but less ‘firm’ than a stronger anchor.

That said, these are still humbuckers, and particularly at the bridge you can pile on some pretty heavy and fuzzy gain and that smooth clarity keeps things nicely defined.

Verdict

Verdict: ★★★★½

The Offset expands the FullerTone line-up to a trio that references the flavour of those Fender classics but in such a classy and original style.

As with the SC and DC models, there’s an almost played-in vintage feel to this new Offset that’s appealing: it doesn’t feel like a glossy new guitar. There’s also a lot of experience evident in the design.

MusicRadar verdict: From the innovative neck join and the great-sounding Tonerider pickups, the quirkily efficient Göldo vibrato to the really good neck shape, feel and playability, it’s a proper guitar, no question. For those of us who are bored with the increasing number of lookalikes and clones of the classics, the FullerTones really stand out. We can’t wait to see what’s next.

Hands-on videos

Jason Mays

A Jazzmaster Fanatic Reviews the Eastman FullerTone Offset ’62 | PlayJason - YouTube

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