GGJaguar
Reverential Member
I thought I’d compare the Orpheum 12-fret slope dread to my similar 12-fretters, namely the Martin CS-D18-12 and the Osthoff SD. I chose these two because the general specifications are similar: Honduran mahogany body (Osthoff is Khaya), red spruce top, and mahogany neck with ebony fingerboard and bridge. The Orph and Martin have hide glue construction. A closer look shows there are clear differences, though.
The X-bracing on the Orph is set at a wider angle and is tapered while the Martin and Osthoff have scalloped X-braces set at a narrower angle. All three guitars are fitted with a pair of scalloped tone bars. The Orph is short scale and the Martin and Osthoff are long scale.
Also of note are the body dimensions. The body lengths and lower bout widths are within 1/2” (1 cm) of each other, but the Osthoff has a much tighter waist (see table below). Finally, the Orph’s body has only 1/4” (0.6 cm) of taper in depth from the neck to the butt end which isn’t far off from the zero-taper body of the Roy Smeck model it is based on. The Martin and Osthoff both have 1” (2.5 cm) of taper. The Martin is the lightest of the bunch by nearly half a pound (227 g).
Onward to the comparisons. All three are strung with Martin monel medium (13 – 56) gauge strings so the playing field is level in that regard.
First up is the Orpheum compared to the Martin. It might as well be Gibson versus Martin since both are based on vintage era models (1930s Gibson Roy Smeck and 1929 Ditson/Martin 111). These two couldn’t be more different sounding. The Orph is warm with smoothed off trebles. Mellow would be a good way to describe it. It is well-balanced from top to bottom. I think the even tonal balance is the only thing the Orph has in common with other Guild dreadnaughts. It’s definitely more Gibby than Guild.
The Martin is the opposite – loud, woody and bright. It does not have the booming bottom end that 14-fret Martin dreads are known for, but it is still stronger than the Orph or Osthoff. The Martin’s voice is dry and stresses the fundamental making for a very articulate sound. The Orph has more overtones and has a sweeter sound when played fingerstyle compared to the Martin.
The X-bracing on the Orph is set at a wider angle and is tapered while the Martin and Osthoff have scalloped X-braces set at a narrower angle. All three guitars are fitted with a pair of scalloped tone bars. The Orph is short scale and the Martin and Osthoff are long scale.
Also of note are the body dimensions. The body lengths and lower bout widths are within 1/2” (1 cm) of each other, but the Osthoff has a much tighter waist (see table below). Finally, the Orph’s body has only 1/4” (0.6 cm) of taper in depth from the neck to the butt end which isn’t far off from the zero-taper body of the Roy Smeck model it is based on. The Martin and Osthoff both have 1” (2.5 cm) of taper. The Martin is the lightest of the bunch by nearly half a pound (227 g).
Onward to the comparisons. All three are strung with Martin monel medium (13 – 56) gauge strings so the playing field is level in that regard.
First up is the Orpheum compared to the Martin. It might as well be Gibson versus Martin since both are based on vintage era models (1930s Gibson Roy Smeck and 1929 Ditson/Martin 111). These two couldn’t be more different sounding. The Orph is warm with smoothed off trebles. Mellow would be a good way to describe it. It is well-balanced from top to bottom. I think the even tonal balance is the only thing the Orph has in common with other Guild dreadnaughts. It’s definitely more Gibby than Guild.
The Martin is the opposite – loud, woody and bright. It does not have the booming bottom end that 14-fret Martin dreads are known for, but it is still stronger than the Orph or Osthoff. The Martin’s voice is dry and stresses the fundamental making for a very articulate sound. The Orph has more overtones and has a sweeter sound when played fingerstyle compared to the Martin.
