Core Collection Items-Guild Acoustics

Cypress Knee

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Let's just say that someone wanted to build a Guild acoustic collection representing the output of the company before Fender stepped in. What do you think should be the five or six core guitars of such a collection, and which ones would be ancillary?

For example, is the D-25 core? If so, which one, the all-mahogany or the spruce top? Does the arched back or braced back make a difference?

Are the Gruhn models representative, or just a glitch in time?

If the guitars are all "players", does NYC vs. Hoboken vs. Westerly vs. Corona vs. Tacoma make a difference?

What about dreadnaught vs auditorium vs jumbo?

What about maple vs rosewood vs mahogany in the same model? Or even pearwood or ash?

Just curious what the general thoughts of the board are on this issue.

CK
 

Cypress Knee

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Let's just say that someone wanted to build a Guild acoustic collection representing the output of the company before Fender stepped in. What do you think should be the five or six core guitars of such a collection, and which ones would be ancillary?

For example, is the D-25 core? If so, which one, the all-mahogany or the spruce top? Does the arched back or braced back make a difference?

Are the Gruhn models representative, or just a glitch in time?

If the guitars are all "players", does NYC vs. Hoboken vs. Westerly vs. Corona vs. Tacoma make a difference?

What about dreadnaught vs auditorium vs jumbo?

What about maple vs rosewood vs mahogany in the same model? Or even pearwood or ash?

Just curious what the general thoughts of the board are on this issue.

CK
 

john_kidder

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That's a trick question for the unwary. I'll bite.

M-20 (original, not re-issue)
D-25 (spruce/mahogany, flat back)
D-55
F-30R
F-50
F-412
GF-60R

John Kidder
 

john_kidder

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That's a trick question for the unwary. I'll bite.

M-20 (original, not re-issue)
D-25 (spruce/mahogany, flat back)
D-55
F-30R
F-50
F-412
GF-60R

John Kidder
 
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Jim -- OK, I'll be the first in the "Fools rush in" category. First thought is that the Corona and Tacomas won't figure in. My rationale...Corona was a transitional phase and wasn't around long enough to make any significant impact and what impact was nearly devastating - so best forgotten in a core collection. Tacoma - well, the cards aren't all in yet and I think it forms the "next phase/wait and see" category.

As far as New York - Wow! I'm not sure you and I combined are worth enough to purchase what few might be available - but, again, I think this was essentially - as far as acoustics - a blip on the radar. That leaves you the rather brief period in Hoboken and the Westerly period from ...what 1972 to 1998 (or whenever it shut down).

For me, I would have to nominate the models for the core that survived the years of constant upheaval and change and form the continuity of the Guild line - D25, D40, D50 or D55, F30, F50, J30, F112 (for the small 12s) and the Jumbo 12s and probably the D212 for the big 12s, possibly the M20, and the B50. This is just off the top of my head, but I don't think the late-80 Gruhns (though among my all-time favorites) were around long enough to show longevity the way some of these other models have. I'm sure I'm forgetting something that will make people howl, but - again - off the top of my head, these are the models I feel are the most immediately associated with Guild's heritage. And all of these survive in enough numbers for the quality to be assessed and the longevity/durability to speak for itself.

Anyone else have any thoughts?

Best - dbs

Dudley-Brian Smith
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Jim -- OK, I'll be the first in the "Fools rush in" category. First thought is that the Corona and Tacomas won't figure in. My rationale...Corona was a transitional phase and wasn't around long enough to make any significant impact and what impact was nearly devastating - so best forgotten in a core collection. Tacoma - well, the cards aren't all in yet and I think it forms the "next phase/wait and see" category.

As far as New York - Wow! I'm not sure you and I combined are worth enough to purchase what few might be available - but, again, I think this was essentially - as far as acoustics - a blip on the radar. That leaves you the rather brief period in Hoboken and the Westerly period from ...what 1972 to 1998 (or whenever it shut down).

For me, I would have to nominate the models for the core that survived the years of constant upheaval and change and form the continuity of the Guild line - D25, D40, D50 or D55, F30, F50, J30, F112 (for the small 12s) and the Jumbo 12s and probably the D212 for the big 12s, possibly the M20, and the B50. This is just off the top of my head, but I don't think the late-80 Gruhns (though among my all-time favorites) were around long enough to show longevity the way some of these other models have. I'm sure I'm forgetting something that will make people howl, but - again - off the top of my head, these are the models I feel are the most immediately associated with Guild's heritage. And all of these survive in enough numbers for the quality to be assessed and the longevity/durability to speak for itself.

Anyone else have any thoughts?

Best - dbs

Dudley-Brian Smith
Smithfield Fair
 

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I think DB has the right answer.

Since the D-40 is included, I think that the D-25 should be the Spruce top with the laminated back because it is so different from anything on the market in Mahagony guitars. The braced flat back D-25 is too much like the D-40.

The type of wood for a particular model should represent the most common wood combination since you are talking about a core collection.

My D-40 for instance is a "Antique Burst" sunburst top, and that appears to be very rare, just from my watching of Ebay and various other sources of used Guilds.

Hans, what do you know about the number of D-40s produced in "Antique Burst", vs. the number of D-40s in natural top.
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I think DB has the right answer.

Since the D-40 is included, I think that the D-25 should be the Spruce top with the laminated back because it is so different from anything on the market in Mahagony guitars. The braced flat back D-25 is too much like the D-40.

The type of wood for a particular model should represent the most common wood combination since you are talking about a core collection.

My D-40 for instance is a "Antique Burst" sunburst top, and that appears to be very rare, just from my watching of Ebay and various other sources of used Guilds.

Hans, what do you know about the number of D-40s produced in "Antique Burst", vs. the number of D-40s in natural top.
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john_kidder

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Whoa there big fellas. "5 or 6" representatives were requested for this hypothetical collection. You've got "D25, D40, D50 or D55, F30, F50, J30, F112 (for the small 12s) and the Jumbo 12s and probably the D212 for the big 12s, possibly the M20, and the B50." That's at least 11, by my count. What happens if you have the collection you specify, and then you have to select 5 or 6 keepers?

You're right about the B50, for sure. But I do have to argue that the Gruhns are "representative" - not long-lived, but surely they warrant a place here?

This could be fun. Thanks for the prompt, C-K.

John K
 

john_kidder

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Whoa there big fellas. "5 or 6" representatives were requested for this hypothetical collection. You've got "D25, D40, D50 or D55, F30, F50, J30, F112 (for the small 12s) and the Jumbo 12s and probably the D212 for the big 12s, possibly the M20, and the B50." That's at least 11, by my count. What happens if you have the collection you specify, and then you have to select 5 or 6 keepers?

You're right about the B50, for sure. But I do have to argue that the Gruhns are "representative" - not long-lived, but surely they warrant a place here?

This could be fun. Thanks for the prompt, C-K.

John K
 
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core collection

A "representative" collection might indicate the characteristic types/models or the most popular. I'm going for the former (though all the models I'll list were at least reasonably popular). And if it were my personal collection, these would all be 1959-1969 versions, which is my own favored period.

D-35 (the most popular dread, though I'm a D-40 guy myself)
F-30 (*the* folkie guitar)
F-20 (the cheap folkie guitar--approximately a gazillion sold)
F-212 (12-strings are what most people associate with Guild)
Artist Award (the pro-level archtop)
F-50 (the jumbo that's better than a Gibson)

My actual holdings right now include a D-40, M-20, M-30, and B-30, and I've had an F-47, F-20, and D-35 pass through my hands. If I didn't have too many guitars already, I'd love to have, say, 1965-ish examples of an F-30, any jumbo 12, and an A-350. (Never cared for the rosewood dreads--too boomy--or the F-50--not very responsive.)
 
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core collection

A "representative" collection might indicate the characteristic types/models or the most popular. I'm going for the former (though all the models I'll list were at least reasonably popular). And if it were my personal collection, these would all be 1959-1969 versions, which is my own favored period.

D-35 (the most popular dread, though I'm a D-40 guy myself)
F-30 (*the* folkie guitar)
F-20 (the cheap folkie guitar--approximately a gazillion sold)
F-212 (12-strings are what most people associate with Guild)
Artist Award (the pro-level archtop)
F-50 (the jumbo that's better than a Gibson)

My actual holdings right now include a D-40, M-20, M-30, and B-30, and I've had an F-47, F-20, and D-35 pass through my hands. If I didn't have too many guitars already, I'd love to have, say, 1965-ish examples of an F-30, any jumbo 12, and an A-350. (Never cared for the rosewood dreads--too boomy--or the F-50--not very responsive.)
 

dreadnut

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D-25M with arched back and spruce top, D-40, D-55, F-512, and G-37 would be my five picks. It gives a nice selection of flat and bowed backs, maple, rosewood, and mahogany, and represents the entry level and top of the line production models.

OK, I'll add a sixth pick: my DV52HGAB :D
 

dreadnut

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D-25M with arched back and spruce top, D-40, D-55, F-512, and G-37 would be my five picks. It gives a nice selection of flat and bowed backs, maple, rosewood, and mahogany, and represents the entry level and top of the line production models.

OK, I'll add a sixth pick: my DV52HGAB :D
 
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Narrowing the collection?

OK, John - you're right - that was too many models - but at least it got us rolling. And I can't really argue about the Gruhn models, but I still feel that they weren't really in production long enough and not enough players may be familiar with them...BUT, they are incredible little guitars - so perhaps you're right.

Based on Russell's comments - I'll agree and narrow my thoughts to these models: the mahogany back and sides, spruce top, arched back D25, the Richie Havens D40 (even though they're incredibly similar, the D40 has a flat back), the F30, the J30, the B50/30 (no slight intended to the later model number change) and any jumbo 12. I think most people think of one of three guitars when they think of Guild's "standard" - D25, F30, J30 and J30-12. So, that's what I'm thinking...back to you.

BTW P, My G37 is an antique sunburst - or what was also termed the tobacco sunburst. Man it's beautiful still. I despised the later "yellow" sunbursts. And you're right about the woods. dbs

Dudley-Brian Smith
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OK, John - you're right - that was too many models - but at least it got us rolling. And I can't really argue about the Gruhn models, but I still feel that they weren't really in production long enough and not enough players may be familiar with them...BUT, they are incredible little guitars - so perhaps you're right.

Based on Russell's comments - I'll agree and narrow my thoughts to these models: the mahogany back and sides, spruce top, arched back D25, the Richie Havens D40 (even though they're incredibly similar, the D40 has a flat back), the F30, the J30, the B50/30 (no slight intended to the later model number change) and any jumbo 12. I think most people think of one of three guitars when they think of Guild's "standard" - D25, F30, J30 and J30-12. So, that's what I'm thinking...back to you.

BTW P, My G37 is an antique sunburst - or what was also termed the tobacco sunburst. Man it's beautiful still. I despised the later "yellow" sunbursts. And you're right about the woods. dbs

Dudley-Brian Smith
Smithfield Fair
 

West R Lee

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Wow , what a tough question. Keep in mind that I am a "drink a glass of wine late at night player" and a rarely occasional weekend small gig type guy.......not a pro!

To me, beyond a shadow of a doubt, the all time classic, must have......is a vintage D-55. AND I DON'T HAVE ONE! Although I love the looks of the '95 or so on, abalone soundhole rosette.

The D-25M is, in my very humble opinion, the most underrated Dred of all time.

The F-50 is truly another classic and collectors item in terms of looks and sound.

I'd have to top the collection off with two Dreds I am personally very partial to. Both because of their potential value one day and because I personally feel that they are the most beautiful guitars I've ever laid eyes on. The D-100 and the DV-73.

Above all, the collection would have to be Westerly for the same reasons Smith gave. I truly believe that Westerly built Guild guitars will only continue to appreciate in value as the years go on. They have already stood the test of time, and the only knock I've ever heard on them is that they are too heavy. Well, there's a good reason for that....they are sturdy, very well built guitars!

Man, that was tough, but there you have it....5 Westerly Guilds.
 

West R Lee

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Wow , what a tough question. Keep in mind that I am a "drink a glass of wine late at night player" and a rarely occasional weekend small gig type guy.......not a pro!

To me, beyond a shadow of a doubt, the all time classic, must have......is a vintage D-55. AND I DON'T HAVE ONE! Although I love the looks of the '95 or so on, abalone soundhole rosette.

The D-25M is, in my very humble opinion, the most underrated Dred of all time.

The F-50 is truly another classic and collectors item in terms of looks and sound.

I'd have to top the collection off with two Dreds I am personally very partial to. Both because of their potential value one day and because I personally feel that they are the most beautiful guitars I've ever laid eyes on. The D-100 and the DV-73.

Above all, the collection would have to be Westerly for the same reasons Smith gave. I truly believe that Westerly built Guild guitars will only continue to appreciate in value as the years go on. They have already stood the test of time, and the only knock I've ever heard on them is that they are too heavy. Well, there's a good reason for that....they are sturdy, very well built guitars!

Man, that was tough, but there you have it....5 Westerly Guilds.
 

Darryl Hattenhauer

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B50 best acoustic bass ever made
D25 (I don't know what configuration) better than a D18 or any Gibson
D50 better than a D28 or any Gibson
F50M better than a J200
F50R better than the martin counterpart
212XL better than a Kottke (YES!)
512XL better than a Taylor Braz 12
MK IV pearwood

I realize that I like the D50 more than most people do, and don't like Guild maple 12s as much as other people do, but that's the way I hear it.

I also have eyes, and I think Guild's plastic peghead covers are an abomination.
 

Darryl Hattenhauer

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B50 best acoustic bass ever made
D25 (I don't know what configuration) better than a D18 or any Gibson
D50 better than a D28 or any Gibson
F50M better than a J200
F50R better than the martin counterpart
212XL better than a Kottke (YES!)
512XL better than a Taylor Braz 12
MK IV pearwood

I realize that I like the D50 more than most people do, and don't like Guild maple 12s as much as other people do, but that's the way I hear it.

I also have eyes, and I think Guild's plastic peghead covers are an abomination.
 
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