NGD: D-25 Anniversary aka D-26

GGJaguar

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What is there to say about the D-25 that hasn’t been said already? Well, if it’s a D-25 Anniversary or D-26 model, there are a few things that can be said. The body is African mahogany (probably Khaya) so I’m guessing Guild’s entire range of arched back mahogany guitars at this time were also being made with Khaya instead of Honduran mahogany. I assume the neck is Khaya, too. The top is perfectly quarter sawn Sitka spruce with lots of silking.

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I believe @twocorgis is correct that both models are one in the same and were made only in 1995. They differ, for the most part, in name only, though the serial number prefixes can be either D25xxxx or D26xxxx. I have seen one 25th Anv D-25 with a D26 serial prefix though the headstock decal and label both denoted it as a D-25.

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Again, looks like Sandy’s hunch is right – they are the same guitar serial number and labels be damned. They do have some notable differences compared to the standard D-25 from the same time period. These have been discussed before, but I will repeat them here:

Gold Rotomatics instead of chrome

Light stained body and neck instead of dark stained body and neck

5-ply w/b/w/b/w top binding instead of 4-ply b/w/b/w

1-ply white back binding and heel cap instead of 1-ply black

Scalloped bracing instead of straight bracing. This is the most significant difference. Notice that the scalloping is not very deep. I’d called them “mildly scalloped” braces compared to some of my other guitars. The other surprise (to me at least) is the giant bridge plate that extends all the way to the “X”.

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Also, there is the mahogany block attached to the neck block under the fingerboard extension. I think this was an early ‘80s modification and @adorshki can correct me on this.

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GGJaguar

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One interesting tidbit is that all of the D-25 Anv and D-26 models that I have seen (not many) have tortoise pickguards and light stained bodies, but these two have black pickguards and dark stained bodies. Note the serial numbers are low and pretty close to each other.

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So which came first, the D-25 Anv or the D-26? Or maybe they were produced concurrently? We’ll wait for Volume 2 for the answer. Another thing that will be in Volume 2 is the “joke” about the D-25 Anv. See here:


So, in summary, the only difference of consequence between these two models and the standard D-25 is the scalloped bracing. How does that affect the sound? I don’t have a standard D-25 for comparison, but I do have a 1998 D-4HG which is a very slightly de-blinged version of the D-25. It has straight bracing.

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The D-4 has relatively fresh D’Addario PB 12s and I strung up the D-25 Anv with new John Pearse PB 12s. I let the new strings settle in for a few hours before the comparison. Tactilely, they are basically the same. They weigh the same, the body dimensions are within a millimeter or two of each other, and the neck profiles are similar. Played fingerstyle, both guitars perform about the same in terms of volume and sound that is even and well-balanced. Note – I’m not an aggressive fingerstyle player and I play with the pads of my fingers with just a hint of fingernail. If you play with a thumb and/or fingerpicks, the difference would likely be more apparent.

The real difference shows when playing the guitars with a flat pick. The D-25 Anv has a big, open sound. The bass is pronounced, but not boomy, the midrange is strong and woody and the high end sparkles without being strident. The notes bloom after the initial pick attack. The D-4HG has a more compressed sound and it doesn’t have the volume of the D-25 Anv. It has a clear voice that favors the midrange and high end. The note bloom is not as pronounced as with the D-25 Anv.

For me, the D-25 Anv works much better for my playing style and is more pleasing to my “Martin” ear. I think I will try a set of monel strings on the D-25 Anv next time around. They tend to maximize the woody goodness in mahogany guitars. Oh, and that doesn’t mean the D-4 is bad. On the contrary, I think it’s a terrific “singer-songwriter” guitar. It has good presence, but lets a singer’s voice shine. Not my cuppa so it’s eventually going to be released back into the wild.

And finally, now that I have a D-25 at least for the foreseeable future, I will ask in memory of our friend Dreadnut – does anyone know how many D-25s were made? :)
 

chazmo

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Beautiful, GG! Congrats on a great add to the collection.

Why do you think it's African rather than Honduran?
 

HeyMikey

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Great review GG for what seems like a very fine guitar. Deal of the year?
 

GardMan

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Also, there is the mahogany block attached to the neck block under the fingerboard extension. I think this was an early ‘80s modification and @adorshki can correct me on this.

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The change from a single "popsicle braces" to the "neck block extension" and wing braces occurred sometime in mid-1974:

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RGSmith265

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Happy NGD GG! I have a D-25M that I love. Now without the armrest…(old photo)
Much different tone with the mahogany top, but it’s a boomer! Love the arched backs for projection.

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GGJaguar

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I spent part of the day comparing the D-26 to some of my other dreadnaughts and I find that it is very articulate with excellent note separation. I think it would be an great choice for recording. I still prefer my Martins, but there's no denying that the D-26 is an excellent sounding guitar and makes for a very nice change of pace from what I'm used to. It's probably one of the best sounding D-25 type guitars that I've played and I think the scalloped bracing is this the secret ingredient here.
 

chazmo

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Happy NGD GG! I have a D-25M that I love. Now without the armrest…(old photo)
Much different tone with the mahogany top, but it’s a boomer! Love the arched backs for projection.

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R.G., are you sure that has a mahogany top? Many of the "M" models are a mahogany-colored stain on spruce top. Do you know what year yours is?
 

chazmo

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I spent part of the day comparing the D-26 to some of my other dreadnaughts and I find that it is very articulate with excellent note separation. I think it would be an great choice for recording. I still prefer my Martins, but there's no denying that the D-26 is an excellent sounding guitar and makes for a very nice change of pace from what I'm used to. It's probably one of the best sounding D-25 type guitars that I've played and I think the scalloped bracing is this the secret ingredient here.
That's very likely, GG. Bracing has a huge influence on sound, as anyone who has played different variants of the Martin dreadnoughts in a series will know.
 

Christopher Cozad

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...So, in summary, the only difference of consequence between these two models and the standard D-25 is the scalloped bracing. How does that affect the sound? I don’t have a standard D-25 for comparison, but I do have a 1998 D-4HG which is a very slightly de-blinged version of the D-25. It has straight bracing...

...The D-25 Anv has a big, open sound. The bass is pronounced, but not boomy, the midrange is strong and woody and the high end sparkles without being strident...

Assuming you could A/B (compare) two identical soundboards mounted onto two identical guitars, the only difference being one soundboard has scalloped bracing...

...and assuming that the scalloping was sufficient to remove unwanted weight without compromising strength...

...you would likely prefer the (subtly different) tone of the scallop-braced guitar.

The general benefit of scalloping can be accomplished with straight braced (non-scalloped) soundboards by using smaller (thinner and/or less tall) braces, though there is still a measurable tonal difference in the overall sound. Whether everyone (anyone) can consistently detect that difference/those differences is another matter.

If the objective is to maximize the potential of the kinetic energy generated by the strings to produce standing waves across the soundboard sufficient to bring grown men to tears, then the role of bracing (including the bridge, the only "external" brace) is not merely to prevent soundbox implosion, but to direct those standing waves. Scalloping is a very successful means to that end, as it allows the luthier to "shape" the sound (at least, to affect it positively), to "fine tune" the soundboard before closing the box.

If "too much" material is removed (uber relative term) when scalloping, the result is an over-driven top, at best (like a woofer having a too small a magnet), or a collapsed top (super wavy, or plunging bridge, or exaggerated bellying).
 
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twocorgis

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Congratulations Greg, and thanks for the in depth analysis! A D25 25th Anniversary by any other name...
 

beecee

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My D-26 fights every day to stay relevant in my stable what with the D-40 and flatback D-25 ganging up on it.

It's still here!
 

GGJaguar

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It took a lot of willpower to hold that guitar and not walk away with it.
If it better strings on it, you very well may have taken it home! It had half-dead 11 gauge D'Addario 80/20 bronze strings. I really came to life after I put on a set of John Pearse PB 12s.
 
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