Did we order a new fridge?

mellowgerman

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That was the question posed to me when my wife saw on our front door camera, a large UPS man dropping off a box that could easily have contained him. Not a new fridge though, it was my newly acquired 1992 Guild B30e. Of course, the hardshell case adds a few inches around the entire instrument, so understandably this box had to be absolutely gigantic. Since the bass was in transit for over a week, it was a tense time, imagining this beauty getting tossed around and crossing the frozen tundra in a series of box trucks. But here it is, safe and sound.
First order of business was removing the old bronze strings. Aside from fully-mahogany acoustics, like my Martin, I've never liked bronze strings, especially on a bass. So I've already got a set of 50-105 Ernie Ball Cobalt flats on this one and I'm very pleased with the results... they're actually louder than the bronze ones were and the low end from this deep body is super impressive.
I wasn't expecting too much from the pickup (piezos are typically not my thing) but with these flats and treble control rolled down, this thing sounds pretty excellent plugged in too!
Looking forward to playing around with it more after I'm done in the office today.

IMG_20230207_190125428~3.jpg
IMG_20230207_220724014~2.jpg
 
mellowgerman

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I suppose it's also worth noting the BIG acoustic difference between one of these very deep acoustic jumbo basses vs. shallower acoustic bass designs like the import B-240e. I ordered one of those when they were first introduced a few years back. With some D'Addario nylon tapewound strings, I found it to be a good sounding and comfortable couch bass. That said, regardless of what strings I put on it, it was much like most typical acoustic bass guitars, in that it simply did not project enough to compete with a pick-strummed dreadnought. It was only able to hold it's own when sitting in a small indoor space with a single acoustic 6 string, as long as the guitarist wasn't strummed too hard.
This B30e has such a big punch to it, especially when using a nice hefty pick, I have no concern about it being able to cut through the mix when competing with a 6-string or two. It's also the first acoustic bass I've come across that I felt had a truly usable/palatable plugged in tone. Might find it's way into some recordings eventually, depending on the tune. That said, I still can't think of any amplified performance context when I'd chose to bring this one instead of my Starfire.
 
lungimsam

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Sweet headstock on that thing, too! Even bigger than the Starfires!! Congrats!! Loud and punchy is good for acoustics when so many aren't loud enough. Sounds like you got a good one!!

PS- what's in that Rickenbacker case?
 
mellowgerman

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lungimsam said:
Sweet headstock on that thing, too! Even bigger than the Starfires!! Congrats!! Loud and punchy is good for acoustics when so many aren't loud enough. Sounds like you got a good one!!

PS- what's in that Rickenbacker case?
Click to expand...

That is my lovely Rick 330, which I would consider my main (non-bass) guitar. A true gem!
 
gjmalcyon

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What a gorgeous behemoth! I have enough trouble getting my arm over my JF4-12. And that's wider and deeper.
 
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mellowgerman

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Courtesy of GAD (thank you for all you do!) here is the 1990 catalog page for the B30e with all listed specs matching my B30e, as far as I can tell. Interestingly, the scale length is 30.75" here, unlike the 31" spec of the B50 in the catalog Sandy posted above. I wonder if 31" scale was accurate for the B50 or if it was a typo. If accurate, why 31" in the first place and then why shave off 0.25" in revision for the B30?
Another thing to note, Gary also had the 1992 catalog on his site, but the B30 specs are different there, with the straight continuous bridge saddle (instead of the split 2-part saddle). So even though mine dates to 1992, I wonder if it was finished in early-mid '92 and one of the last to get the old specs?

1990:
Guild-1990-Catalog-pg22_1600.jpeg


1992:
Guild-1992-Catalog-Acoustic-5-2_1600.jpeg
 
twocorgis

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mellowgerman said:
Courtesy of GAD (thank you for all you do!) here is the 1990 catalog page for the B30e with all listed specs matching my B30e, as far as I can tell. Interestingly, the scale length is 30.75" here, unlike the 31" spec of the B50 in the catalog Sandy posted above. I wonder if 31" scale was accurate for the B50 or if it was a typo. If accurate, why 31" in the first place and then why shave off 0.25" in revision for the B30?
Another thing to note, Gary also had the 1992 catalog on his site, but the B30 specs are different there, with the straight continuous bridge saddle (instead of the split 2-part saddle). So even though mine dates to 1992, I wonder if it was finished in early-mid '92 and one of the last to get the old specs?

1990:
Guild-1990-Catalog-pg22_1600.jpeg


1992:
Guild-1992-Catalog-Acoustic-5-2_1600.jpeg
Click to expand...
Ingo, I would think that the split saddle on yours would effective give it two different scales? My '77 had the same split saddle, but IIRC, I don't think all of them did.

13985392329_25205d41c5_h.jpg
 
fronobulax

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I have seen the scale lengths for my non-Pilot Guilds described as 30.5". I have seen 30.75" and 31." also reported but assumed the discrepancies were errors and not a change in spec. As we know, not every reported scale length is measured the same way. On my own instruments I can get different measurements by depending upon whether I measure from the nut to the 12th fret and double the measurement (the "right way") or look at the distance between the nut and a saddle. On my basses with an intonation I like, the "scale length" varies by almost .5" between the E and G strings. Since I use a yardstick or a tape measure (and not a more refined tool) I can also get some variation based upon whether I strive for the center of the fret and the nut, the same sides or opposite sides.
The bottom line though is I can't feel any difference between the "short scale" instruments which vary in spec by .5" whereas the nominal 34" Pilot is a completely different beast.

Without consulting notes I think all B-50's had split saddles and some of the B-30's had split saddles. I think the earlier B30's had the split. The split was an attempt to provide better intonation but even then things were about 10 cents off which may be why the one piece bridge was restored. The split saddle didn't really make things better.

The speaking length of the strings on a split saddle certainly varies with the split saddle but then that is also true of a harp bridge or just about any other bass where the saddles are not in a straight line.

At this point all I really care about scale length is how to use it to get strings that fit and even that depends upon inconsistent measurements and definitions.
 
GGJaguar

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I think the only thing bigger than that B-50 is a bajo sexto guitarrón. Geez, that's big.
 
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fronobulax

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zulu said:
It's so massively pretty. Makes me want to jam with you.

Don't hate me, but to me that thing is begging to be fretless. Best way to fix intonation issues on a bass is with pliers. zulu's tech tips
Click to expand...

You could get one fretless from the factory. I think @Nuuska has a fretless, sunburst B-30.
 
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