What Made Lloyd Loar Mandolins Sound So Good? A Conversation with Frank Ray

I recently sat down with my friend and fellow musician, Frank Ray. In this interesting discussion, Frank elaborates on why he thinks the famous Gibson Lloyd Loard mandolins sound so amazing.

BIOGRAPH OF LLOYD LOAR
Lloyd Allayre Loar (January 9 1886 – September 14 1943) was an American musician, acoustical engineer, luthier and instrument designer whose work helped reshape the mandolin (and other string instruments) in America.

Early Life & Education

Born in Cropsey, Illinois, Loar displayed musical talent and went on to study at institutions including the Chicago Musical College, the American Conservatory of Music and Oberlin Conservatory of Music.

His early professional life included roles as performer and educator, and he travelled as part of music ensembles before turning his focus to instrument design.

Work at Gibson

In 1919 Loar joined Gibson in Kalamazoo, Michigan, where his most famous work took place.
He spearheaded what’s known as the “Master Model” series of instruments — notably the F-5 mandolin, H-5 mandola, K-5 mandocello and the L-5 guitar.

His design innovations included:

The use of violin-style f-holes in mandolins (rather than round or oval sound-holes) to enhance projection.

A longer neck with the bridge placed further into the body, improving tonal power.

An elevated fingerboard over the top of the instrument rather than one fixed directly to the top plate.

The incorporation of the “Virzi Tone Producer,” a small spruce disc suspended inside the instrument under the top, designed to enrich overtones and resonance.

“Tap‐tuning” of the top, back and internal sound bars — loosening or carving material until the instrument’s chamber and top responded optimally at certain frequencies.

Loar’s instruments were signed and dated inside the sound-hole during the period from around June 1922 through December 1924.

The Mandolins & Their Legacy

Perhaps the most famous of the instruments Loar designed is the F-5 mandolin. Introduced in 1922, the F-5 became the benchmark for high-end American flat-top mandolins.

One of the most iconic examples: Serial # 73987 signed July 9, 1923, used by bluegrass pioneer Bill Monroe for much of his career.

The character and tone of Loar’s mandolins helped shape the sound of bluegrass and mandolin playing in America.

Because of their rarity, craftsmanship, historic importance and tonal quality, these “Loar-signed” mandolins are highly sought by both players and collectors. Some instruments easily command six-figure prices.

Later Life & Innovations

After leaving Gibson in December 1924, Loar continued to experiment with instrument design. He worked on electric amplification of string instruments and other acoustical engineering projects.

He later taught music theory, composition and the “physics of music” at Northwestern University from around 1930 until his death in 1943.

Why It Matters

Lloyd Loar bridged the world of performance, musical pedagogy and instrument engineering — bringing to the mandolin design many ideas often associated with violin making and acoustic science.

His design changes did more than cosmetic tweaks — they fundamentally improved projection, tonal richness and responsiveness of flat-top mandolins, and many builders and players still regard his models as a gold standard.