Also bear in mind that half (OK, slight exaggeration) the guitars Guild made were called "Bluegrass" models at one time or another! Correct me if I'm wrong, but calling certain models "Bluegrass" doesn't seem to have meant anything in terms of how they were made -- a "Bluegrass" D-40 was the same as a regular ol' D-40, right? Same with the other so-called "Bluegrass" models (how many were there?!).
Ok in '64 when the D40 and D50 were introduced, Guild's first dreadnaughts, the '40 was called the Bluegrass Jubilee and the '50 was the Bluegrass Special.
All it was
at that time was a "Name" to go along with the number which Guild had been doing all along: "F50 Navarre", "F30 Aragon", "F40 Valencia"," F20 Troubador".
True, when the D25, D35 , and F-47 were introduced, they were all called "Bluegrass" too, so your humorous exaggeration's actually got some grounding in fact.
In '64 I suspect Guild was simply trying to differentiate those guitars from the original name associations to attract a different buyer.
Also Hans has confirmed that at least some very early D40's got 1-3/4 nuts and flatter fingerboards, both of which are supposed to be attractive to bluegrass fingerpickers.
At the time Flatt & Scruggs were a household name thanks to the Beverly Hillbillies.
The use of names fell off in the late '70's, but technically
all D40's and D50's were "Bluegrass" models like you thought,
when introduced.
So for all intents and purposes you can ignore the "Bluegrass" moniker.
NOT SINCE TACOMA!
Starting in Tacoma they revived the "Bluegrass" names on D40's and D50's and the single most important build detail was that they got ADI tops.
In fact it was historically Guild's first use of Adi tops and bracing in some models.
The sitka topped D50 was simply the D50 (or D50 Standard) and the option D40, the Richie Havens signature model, was also sitka-topped.
In New Hartford the sitka-topped versions were called the "Standards" and "Bluegrass" still meant "Adi".
Thanks guys , so I'm just rubbing my head hear , D55's brighter the D50 ? But are not the D50's considered the Bluegrass models ?
Now you know. I suspect you've never seen one of our favorite history stories that the very first D-55's were actually D50 "Specials" ordered by Tommy Smothers beginning in '64 according to Hans.
The only thing I can recall him saying for certain about those was they were D50's with an F50-style neck, ie "bling".
At that time most anything was possible and records weren't scrupulously maintained or preserved either.
Because they appeared on TV, they became known as "Television D55" and were listed as "order only" in the catalog until they finally became regular production (I think it was '74.)
There's been a LOT of speculation here about D55's getting special attention when built, like better woods, different bracing, but I can't recall any of it being confirmed by Hans or a Westerly employee.
I do know D55's got scalloped bracing at some point, (I think it shows up in the '87 price list, I think Gardman kindly pointed that out recently) and they got ebony fretboard, 3 piece necks, and AAA tops at least by close of Westerly ('01 price list). Anyway, bottom line: while it
does seem reasonable to assume D55's got a lot of special attention and maybe even tap-tuned tops, I couldn't point you to concrete confirmation.
The DV's being designed for the old school sound ? Help me out here most older designs in reading and playing seem to be dryer more woody so when I read resonance that kind of made me do an about face.
Drier= more resonance but I'm sure it was more about the bracing and lightening up the backs and sides.. it's possible they did cut or sand thinner tops, example, my F65's AAA top
does seem a little thinner than the D25's, but again, I've never seen that
credibly confirmed.
My comments on DV details were a distillation of quotes in the '97 Guild Gallery #1 that listed the special build details for the DV-6 and the DV-52 (the only 2 in the line at the time).
A while back I realized that while they
did mention sanding the backs and sides they did NOT mention sanding
the tops even though they used the term "tuning the tops" in the introductory phrase.
That same Guild Gallery BTW has an article "Buildling a D55, part one" which basically only covers neck construction.
Maybe Jeff (Walrus) can check if they ever published a "part 2" covering top construction?
The first DVs originated in Westerly, then Tacoma, then MIM (Mexico). I'm not sure if they were made during the Corona-era. And be careful about the model designations (DV-4 or DV-6 that is) as the DV series never seemed cast in stone, spec-wise.
Right, no DV's in Corona, and when revived in Tacoma the '6 had a rosewood body but was 'hog in Westerly.
In Westerly the DV6 seemed to fill the slot left open by the D40 going on hiatus for a while. When it was revived the DV6 went away, just can't remember whether D40 was actually revived before close of Westerly, but definitely by Corona in 2 versions with intro of the Havens sig model.
I'd almost prefer Sitka bracing as per my Intel to Adirondack bracing tends to lessen or dull the highs and or mids .
Not sure why , seems contradictory but from what I gather Aldi tops with Aldi bracing may not be a choice tone depending what your going for .
I beleive a vid buy Mr. Collens speaks if it ?
Wish I could give credit but somebody here (TXbumper?) mentioned that because Adi's generally denser/stiffer than sitka the bracing can be made thinner/lighter for the same strength which was supposed to enhance top resonance, at least, that's why Tacoma went with all adi bracing.
Don't know if that conflicts with Collins' take since it's overall resonance vs specific frequency ranges but just puttin' it out there.
