If you've been hanging around bluegrass circles for any amount of time, you've probably heard someone raving about the loar lm 700. It's one of those instruments that seems to have carved out a permanent spot in the "best bang for your buck" Hall of Fame. For those of us who dream of owning a vintage Lloyd Loar Gibson from the 1920s but don't have a spare $200,000 sitting in a shoe box, this mandolin represents a pretty compelling alternative. It's an F-style mandolin that actually tries to live up to the legendary name on the headstock, and honestly, it does a better job than most in its price bracket.
I remember the first time I picked one up at a local music shop. I was expecting it to feel like just another mass-produced import, but there's something about the weight and the finish of the LM-700 that feels more "boutique" than you'd expect. It's got that classic look, but the way it's built is what really sets it apart from its siblings, like the LM-520 or the LM-600.
The Secret Sauce: No Tone Bars
Most mandolin players are used to seeing tone bars—those two parallel strips of wood glued to the underside of the soundboard—when they peer through the F-holes. But the loar lm 700 does things differently. It's built without tone bars. Now, before you think that sounds like a structural disaster waiting to happen, hear me out.
By removing the tone bars, the builders allow the hand-carved spruce top to vibrate much more freely. The top is carved slightly thicker to compensate for the missing support, which results in a sound that is incredibly open and resonant right out of the box. Usually, a brand-new mandolin can sound a bit "tight" or thin until it's been played for a few hundred hours. With the LM-700, that "opened up" sound is there from day one. It's got a sustain that just keeps going, which isn't always something you find in an F-style mandolin designed for bluegrass.
How It Sounds in the Real World
Let's talk about the "bark." If you're playing in a jam session with a couple of loud guitarists and a banjo player who doesn't know the meaning of the word "subtle," you need an instrument that can cut through the noise. The loar lm 700 has volume to spare. It's got a very beefy low end—what some players call the "woof"—that makes your G-string chops feel like a punch to the gut.
The highs are clear, though they lean more toward the "sweet" side than the "piercing" side. Because of that lack of tone bars we talked about, the overall voice is very balanced. It doesn't have that nasal quality that some cheaper mandolins get when you play high up the neck. Whether you're playing a slow, melodic waltz or a blistering version of Rawhide, the notes remain distinct.
That said, if you're a total purist who wants that specific, dry, percussive "thunk" of a traditional 1920s Gibson, you might find the LM-700 a little too resonant. It has a lot of overtones. For some, that's a dream come true; for others, it's a bit different from the standard bluegrass template. Personally, I think it makes the instrument more versatile for folk, jazz, or even classical stuff.
Build Quality and That "V" Neck
The first thing you'll notice when you hold a loar lm 700 is the neck. It's got a pronounced V-shape. Now, neck profiles are a deeply personal thing. If you're used to a rounded, modern "C" shape, this might feel a bit like holding a boat oar at first. But for many players, the V-shape is actually more ergonomic. It gives your thumb a nice anchor point and can actually reduce hand fatigue during long sets.
The materials are top-notch for the price. You're looking at a solid hand-carved AAA spruce top and solid flamed maple back and sides. The flame on the back of these things can be absolutely stunning—sometimes I catch myself just staring at the wood grain instead of actually practicing. It's finished in a thin nitrocellulose lacquer, which is a huge deal. A lot of mandolins in this price range are smothered in a thick poly finish that kills the vibration, but the nitro on the LM-700 lets the wood breathe.
The Hardware and Setup
The bridge is ebony, and the tuners are usually high-quality Gotohs (though this can vary depending on the year it was made). One thing I always tell people when they buy a loar lm 700—or any mandolin, really—is that you must get a professional setup.
Straight from the factory, the nut slots might be a hair too high, or the bridge might not be perfectly intonated. Once you have a luthier spend an hour or two tweaking it, the playability goes from "good" to "incredible." It's the difference between fighting the instrument and having it feel like an extension of your hands.
Aesthetics and the Scroll
We have to talk about the scroll. It's an F-style, so you're paying a premium for that fancy curly bit of wood on the top bout. On the LM-700, the carving is surprisingly clean. The headstock features a beautiful "fern" inlay in abalone and mother-of-pearl that looks like it belongs on an instrument twice the price. It doesn't have the "The Loar" logo in a way that feels tacky; it feels like a genuine tribute to the golden era of mandolin building.
Who is This Mandolin For?
I wouldn't necessarily call the loar lm 700 a "beginner" mandolin, mostly because it's a bit of an investment. However, if you're a beginner who knows you're going to stick with it, starting on an instrument this good will save you from wanting to upgrade six months down the road.
It's really the "sweet spot" for the intermediate player. You've learned your chords, you're starting to take solos, and you're tired of your entry-level A-style sounding like a tin can. The LM-700 gives you the professional look and a professional-grade sound without requiring you to take out a second mortgage. I've even seen plenty of pro players carry these as "festival mandolins"—the kind of instrument they can take to a humid outdoor festival and play under a tent without worrying about their $10,000 heirloom cracking.
A Few Things to Keep in Mind
No instrument is perfect, and the loar lm 700 has its quirks. * Weight: Because of the denser carving on the top and the high-quality maple, it's a bit heavier than some other F-styles. * The Finish: Nitrocellulose is beautiful, but it's delicate. It will show scratches and "character" more easily than a plastic-like poly finish. If you like the pristine look, you'll have to be careful. * The Case: Usually, these come with a decent hardshell case, but always double-check. You definitely want to protect that scroll.
Final Thoughts
At the end of the day, the loar lm 700 is a powerhouse. It defies the idea that you have to spend a fortune to get a hand-carved, nitro-finished F-style mandolin with a complex voice. It's loud, it's beautiful, and it has a personality that stands out in a crowded market of clones.
Whether you're looking to chop along to some Bill Monroe or you want to explore some jazzier melodies, this mandolin has the range to do it. It's got that rare quality of feeling like a "forever" instrument for most hobbyists. If you can handle the chunky V-neck and you appreciate a bit more sustain than your average bluegrass box, the LM-700 might just be the last mandolin you ever need to buy. Then again, we're musicians we always "need" just one more, don't we? But this one will definitely keep you happy for a long, long time.