"Easily one of the most desirable electric guitars under $1,000 that I've played": Eastman FullerTone Offset '62 review

What is it?

While Eastman might have made waves building very impressive premium spec Chinese-made acoustic and electric guitars inspired by classic designs, it took an interesting departure in 2019 with the Romeo. And started a journey that has led us here – a very good place to be.

The Romeo semi-hollow design was a distinctly original Eastman – designed by its LA custom shop-based master luthier Otto D’Ambrosio. The solid-body Juliette followed, but it was last year's FullerTone SC and DC models that saw the company's vision for quality and value come into stark focus.

These sub-$1,000 electric guitars delivered big on value with Eastman's boutique-leaning standards, but alongside a two-bolt, long-tenon neck design that was a genuine progression for bolt-on guitar design. Now here's a third FullerTone – a more affordable take on the model that initially surfaced in the select higher-end USA D'Ambrosio Series in 2024 – and I'm getting the feeling this might be Eastman's strongest statement in the guitar market yet.

Well, look at it. The DC and SC models absolutely have their charms – especially as fresh design statements from Eastman with distinct pickup configuration options. But as an offset, my first impression is this FullerTone vision immediately has a wider potential appeal. And a few things are intriguing me further here as I take the Dakota Red model out from its reassuringly padded dark grey Eastman-branded gigbag.

The decision to move the pickup selector to the upper horn, a pair of soapbar-size humbucker pickups designed with the UK's Tonerider (we previously only saw bridge or neck options on previous FullerTones) and a Göldo DG tremolo. Is this the recipe to win more of us over to Eastman? I'm going to dig in and find out.

Specs

• Launch price: $999 | £899
• Made: China
• Type: Six-string electric guitar
• Body: Roasted black limba
• Neck: Roasted Maple / Medium Round
• Fingerboard: Rosewood, 12"
• Scale length: 25.5" / 647.7mm
• Nut/width: Bone / 42.8mm
• Frets: 24, Jescar FW47104-P
• Hardware: Tune-o-matic with Goldo DG Tremolo, nickel tuners
• Electrics: 2 x tone, 1 x volume control Tonerider soapbar humbuckers with custom goldfoil covers,
• Weight of test guitar: 6.7lb / 3.03kg
• Left-handed options: No
• Finishes: Dakota Red (as reviewed), Gold Truetone Satin Gloss
• Cases: Padded gig bag
• Contact: Eastman

Build quality

Build quality rating: ★★★★★

Eastman has a reputation for high build standards – I've experienced the consistent evidence for it firsthand in the past. It's not purely about delivering well-built guitars from its Beijing facility, but going further to try and deliver a boutique experience for players that demands a double-take at the asking prices. This has created a real buzz around the brand – we all want more bang for our buck.

The FullterTone Offset '62 proves to be an even more effective showcase of this. As I discover, it's a guitar that looks and feels to me like it could carry $2,000 on the tag. And I would be lying if I didn't project some of the instantly desirable vintage swagger of Novo's Serus offset here, but the curves are softer to those $4k+ Nashville builds. I actually prefer Eastman's outline, to be honest.

But this is no cheaper compromise to anything. The balance of originality and classic vibe is not an easy balance to make in guitar design, but it really comes together. The FullerTone Offset '62 is an immaculately made guitar with a real sense of consideration.

The gloss satin finish of the subtly metallic Dakota Red body and neck immediately invites the player. While the aesthetic looks alternative vintage, D’Ambrosio's Goldfoil-style cover design for the Tonerider pickups feels like it's always been destined to sit in context with his gold anodized aluminium scratchplate here. The roasted black limba body (aka korina) again equates to a lightweight FullerTone at 6.7lbs too. The combination is very attractive on the eye and in the hands.

The back reveals the two-bolt neck design (more on this later), neatly finished with another anodized plate (the pickup switch cavity gets one too). And while there's a curved forearm contour on the Offset's body at the front, at the rear, a wide belly carve is another welcome feature for player comfort.

With the low action leaving any Jescar fretwork oversights nowhere to hide, or to be found, it's a pass with distinction for our test guitar (I can also say the same for the Gold finish model I've had the opportunity to try too).

There's really no room for critique from me on the build standard side, and even the roasted maple neck has a lovely, subtle flame, but I have one minor aesthetic gripe. I'd have loved to have seen a colour inlay to add contrast and additional class to the headstock. But that's relatively minor preference stuff – Eastman is already giving us a lot for the entry price here as it stands.

Playability

Playability rating: ★★★★½

If you're coming from necks with modern C carves, Eastman's Medium Round shape with a 12" radius is going to take adjustment, though the transition is helped by the slinky action and satin finish here. It's a deep C, girthier than some bolt-on players will be expecting – I measure the depth at 22.6mm at the second fret and a deeper 25.6mm at the 12th with my calipers. This change surprised me, and could be a sticking point for some of you.

Those who like a little meat on their maple may be in their element here though, but as I've said before in reviews, we can all find our way out of perceived comfort zones in the right context. The quality of the setup here creates optimum conditions for that with a slinky, springy string tension from the D'addario NYXL .010 - .046 stock set that's a real joy for bends.

With the neck join at the 16th fret here, like the FullerTone SC, the cutaway curve lies between frets 21 and 22 on this 24-fret neck. Even so, I think a more dramatically contoured heel would have been a beneficial modern feature to include here to enhance access further. But again, more preference than problem. I soon settled in with this guitar and its neck shape reminded me of my own 2005 SG Special, despite the 25.5" scale here.

The decision to move the pickup selector to the upper horn on this latest FullerTone feels like it's tied in to a bigger picture, and I discover it was actually the result of close collaboration with Dutch guitar YouTuber and tutor Paul Davids – a partnership that also resulted in the enhanced body contouring I praised earlier.

The goal was "player-first design," and I'm sure we can all get onboard with that, in theory anyway, but my initial reaction when I saw the first pics of the FullerTone Offset '62 were, 'Why have they moved the pickup selector?!'

In my experience, you need it placed below the picking hand for quick-on-the-fly changes, but holding this guitar in person with the placement of the trem arm and controls, it would simply be too cluttered to place the pickup on the lower bout too. The trem arm would frequently be in the way. Especially as Eastman's Davids-inspired volume control placement now allows for easier swells with the little finger while picking. It all makes sense in context.

So too does the choice of tremolo. The Göldo proves sensitive and close at hand to add drama to notes and movement to chords. Its response feels more like a Bigsby than anything from the world of Fender offsets for me in use, and could be a great first tremolo guitar experience if you have a gap in your rack for it.

Its vintage pawn shop aesthetic looks great too, which helps. Moreover, in a world where a guitar constantly going out of tune is as much use as a chocolate teapot, it's stable.

Sounds

Sounds rating: ★★★★★

The FullerTones blur the lines for me between bolt-on and set-neck guitar. The Offset reminds me why – Ambrosio's two-bolt system gives the FullerTone series its name and attaches the long tenon neck to the body to aid resonance and sustain. You can literally feel the results while playing this guitar unplugged on your lap. It bodes well for plugging in.

The pickups here aren't P-90s or true goldfoils. In its collaboration with the UK's Tonerider pickups, Eastman is offering "soapbar humbuckers with goldfoil covers".

As my own modest collection of modded guitars features Wide Range humbucker and P-90-size Firebird-style pickups, I'm always interested in left-of-centre options as I've ventured out from PAFs, and even P-90s. These Chinese-made Toneriders fit the bill for something distinct – and it frequently feels akin to a hum-cancelling single-coil at times with a bridge pickup that is steely and cutting like a Tele.

I test through my Supro Delta King, then a variety of Quad Cortex amp models and find a bridge 'bucker that is really going to stand out in a mix, especially layering with the darker humbucker tonality of something like a Les Paul player. I like having the tone control as something to roll highs back from here rather than compensate for with pedals and EQ.

This is why I understand Eastman's decision to go with a pair of tone controls instead of two volume pots for the Offset '62. I think these pickups need them. I find there's plenty of scope to wind back on the CTS tone pots here, with a subtle taper allowing nuance and an airy jangle up to the edge of breakup that I'm really taken with.

The neck position reminds me of Firebird pickups – great definition and clarity, but some of the sustain that I just wouldn't expect from a bolt-on design. Crunch tones have a slightly hollow quality here that I love. Like a Firebird, the combination of some of the cut and low-end clarity makes for a great middle position – something I'd visit far more than on traditional humbucker guitars, especially as a guitarist/vocalist finding a distinctive place in the sound with another guitarist, rather than a compromise. Just like a Firebird, it's the secret weapon here.

And in the spirit of the offset's first true revival, that neck pick-up and trem are also a great pairing for post-rock and alt-rock, handling the quiet-loud dynamic changes of chime and drive majestically. No woolly excess here.

Verdict

We have an early candidate for guitar of the year here, but also something that feels like it's Eastman's clearest statement to date on what it is willing and able to offer players at the price point. It feels generous in its quality, and showcases what design collaboration can achieve with consistently impressive Chinese manufacturing.

Moreover, the electric guitar market is not getting any less crowded anytime soon. It's harder to stand out and make waves as a unique proposition. The FullerTone Offset '62 does that confidently, and at a price that should be a real temptation to try Eastman for more players than ever.

Guitar World verdict: Aesthetically and sonically, the FullerTone Offset '62 makes a very convincing case for being Eastman's most impressive design to date. At under $1,000, it's also a bona fide deal. This is a wonderful guitar.

Also try

Fender American Ultra II Meteora - $2,359.99 | £2,289

Even the biggest name in bolt-ons can branch out with an offset when it wants, and the Meteora is certainly a talking point. This model also offers a similar control layout to the Eastman, though no trem. The Haymaker humbuckers are the ace card here with some serious versatility on tap.

Read more: Fender American Ultra II Meteora review

Eastman Fullertone DC '62 - $999 | £899

The tonewood build is the same here but the shape is not – the H/S/S pickup spec also offers its own distinct experience, though the soapbar-sized bridge bucker is shared with the Offset. The trem here is closer to the PRS approach than a vintage-style though.

Read more: Eastman FullerTone DC ’52 review

Eastman Fullertone SC '52 - $899 | £799

This time you get the Offset's humbucker in the neck position with a T-style bridge and pickup. Desert Sand, Moss Black and Ice Blue Metallic are the finish options here.

Read more: Eastman Fullertone SC '52 review

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