Darryl Hattenhauer
Venerated Member
Does anybody know if Guild ever made a 3-piece back, whether special order, prototype, or otherwise?
Guild 3-piece back
- Thread starter Darryl Hattenhauer
- Start date
Darryl Hattenhauer
Venerated Member
Does anybody know if Guild ever made a 3-piece back, whether special order, prototype, or otherwise?
hansmoust
Enlightened Member
Darryl Hattenhauer said:
Darryl,
To the best of my knowledge Guild never did a 3-piece rosewood back like on a Martin D-35. However a part of the production of the '80s D-46, which had Ash back & sides, was done with a 3-pc. back that had a rosewood centerpiece in between the two Ash pieces.
It's always possible that there's some experimental guitar floating around but I think I would remember if I'd seen one ........... I think!
Hans
hansmoust
Enlightened Member
Darryl Hattenhauer said:
Darryl,
To the best of my knowledge Guild never did a 3-piece rosewood back like on a Martin D-35. However a part of the production of the '80s D-46, which had Ash back & sides, was done with a 3-pc. back that had a rosewood centerpiece in between the two Ash pieces.
It's always possible that there's some experimental guitar floating around but I think I would remember if I'd seen one ........... I think!
Hans
Darryl Hattenhauer
Venerated Member
Regarding the ash and rosewood, I'll bet it looked good. I'd never thought about mixing blond and dark wood for a 3-piece back.
Darryl Hattenhauer
Venerated Member
Regarding the ash and rosewood, I'll bet it looked good. I'd never thought about mixing blond and dark wood for a 3-piece back.
HoboKen
Member
I rember back in....I think it was '65 or '66, I ordered a D-28 and they told me I'd have to wait two years to get it. Martin was back-ordered that badly then, and they could not get enough of the right sized wood to do the two piece back. They offered me a new model for the same price if I'd take it. It was a D-35. You coud get 'em from the factory back then. I remember thinking the three-piece back was the wildest thing I'd ever seen. I bought it and three years later traded it for a volkswagon our Air Force Chaplin had. The VW is long gone, but the guitar plays on with his daughter. I'd love to see Guild do a D-55-TPB! To really get it right, they'd have to do a butterfly flip cut on the two back-sides and even the same on the center-back piece with a no-see seam so that the balance of sound would be equal on both sides of the guitar. Expensive to build, but wow! That coupled with the scalloped bracing would be interesting!
The rosewood D-100 (up-scaled D-55) had Maple and abolone bindings.
The headstock was multi-layered wood cut at an angle to show off the layers as if they were a binding. (The DV-72s have the same headstock except the "G" is in turquoise to match the "arrowheads" on the fretboard inlay and bridge) The inlay on the D-100 headstock is all abolone instead of mother of pearl on the D-55s. It has a hand-carved mahogany neck. The fretboard inlay was different than a D-55s, more along the lines of a Martin D-45. The AAA spruce tops on the D-100s and DV-72s were cut a special way to give the "Feathering" look when the lacquer was applied.
Willie Fritscher really knew how to pick those woods of tone! I wonder how many of 'em George Strait bought up?
Anybody know if Willie moved from Westerly to CA? Or did he just retire and stay in Westerly. One of the most knowledable persons I've ever met when it came to picking raw wood to build guitars.
Anyone know of a Custom Shop Deco Valencia Concert model floating around? Even an excellent condition F-30 or 40?
The rosewood D-100 (up-scaled D-55) had Maple and abolone bindings.
The headstock was multi-layered wood cut at an angle to show off the layers as if they were a binding. (The DV-72s have the same headstock except the "G" is in turquoise to match the "arrowheads" on the fretboard inlay and bridge) The inlay on the D-100 headstock is all abolone instead of mother of pearl on the D-55s. It has a hand-carved mahogany neck. The fretboard inlay was different than a D-55s, more along the lines of a Martin D-45. The AAA spruce tops on the D-100s and DV-72s were cut a special way to give the "Feathering" look when the lacquer was applied.
Willie Fritscher really knew how to pick those woods of tone! I wonder how many of 'em George Strait bought up?
Anybody know if Willie moved from Westerly to CA? Or did he just retire and stay in Westerly. One of the most knowledable persons I've ever met when it came to picking raw wood to build guitars.
Anyone know of a Custom Shop Deco Valencia Concert model floating around? Even an excellent condition F-30 or 40?
HoboKen
Member
I rember back in....I think it was '65 or '66, I ordered a D-28 and they told me I'd have to wait two years to get it. Martin was back-ordered that badly then, and they could not get enough of the right sized wood to do the two piece back. They offered me a new model for the same price if I'd take it. It was a D-35. You coud get 'em from the factory back then. I remember thinking the three-piece back was the wildest thing I'd ever seen. I bought it and three years later traded it for a volkswagon our Air Force Chaplin had. The VW is long gone, but the guitar plays on with his daughter. I'd love to see Guild do a D-55-TPB! To really get it right, they'd have to do a butterfly flip cut on the two back-sides and even the same on the center-back piece with a no-see seam so that the balance of sound would be equal on both sides of the guitar. Expensive to build, but wow! That coupled with the scalloped bracing would be interesting!
The rosewood D-100 (up-scaled D-55) had Maple and abolone bindings.
The headstock was multi-layered wood cut at an angle to show off the layers as if they were a binding. (The DV-72s have the same headstock except the "G" is in turquoise to match the "arrowheads" on the fretboard inlay and bridge) The inlay on the D-100 headstock is all abolone instead of mother of pearl on the D-55s. It has a hand-carved mahogany neck. The fretboard inlay was different than a D-55s, more along the lines of a Martin D-45. The AAA spruce tops on the D-100s and DV-72s were cut a special way to give the "Feathering" look when the lacquer was applied.
Willie Fritscher really knew how to pick those woods of tone! I wonder how many of 'em George Strait bought up?
Anybody know if Willie moved from Westerly to CA? Or did he just retire and stay in Westerly. One of the most knowledable persons I've ever met when it came to picking raw wood to build guitars.
Anyone know of a Custom Shop Deco Valencia Concert model floating around? Even an excellent condition F-30 or 40?
The rosewood D-100 (up-scaled D-55) had Maple and abolone bindings.
The headstock was multi-layered wood cut at an angle to show off the layers as if they were a binding. (The DV-72s have the same headstock except the "G" is in turquoise to match the "arrowheads" on the fretboard inlay and bridge) The inlay on the D-100 headstock is all abolone instead of mother of pearl on the D-55s. It has a hand-carved mahogany neck. The fretboard inlay was different than a D-55s, more along the lines of a Martin D-45. The AAA spruce tops on the D-100s and DV-72s were cut a special way to give the "Feathering" look when the lacquer was applied.
Willie Fritscher really knew how to pick those woods of tone! I wonder how many of 'em George Strait bought up?
Anybody know if Willie moved from Westerly to CA? Or did he just retire and stay in Westerly. One of the most knowledable persons I've ever met when it came to picking raw wood to build guitars.
Anyone know of a Custom Shop Deco Valencia Concert model floating around? Even an excellent condition F-30 or 40?
Just got to play a new Taylor GS. First one in the store, arrived today. It sounds great and plays well right out of the box. I was told it has a 3 pc back and looks quite nice by what the others were saying. This one is rosewood/spruce.