My review of the NEW OXNARD F55e

Cougar

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....So technically, I have 14 days to try out this guitar. It took me about 14 seconds to decide that this one was a keeper....

Good going, Clyde! That guitar is awesomely gorgeous! Thanks for the writeup! And pics!
 
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Inside of the case:

IMG_3495.jpg


From the website:

"The HumiCase built-in climatic control system will protect your guitar’s playability and beauty for years to come. Each HumiCase comes with custom-designed HumiPods that only require distilled water to activate. When used properly, these pods will uphold a consistent and safe humidity level for your instrument."

Its basically a sponge uncased inside the top part of the case. Instinctively, I'd be worried about water coming into contact with the guitar. I usually use Boveda 2-way humidity packs, but might give this Humipod thing a shot.

Crap, what do I have to do to buried in that when I die? Beautiful guitar!! Thanks for the write-up.
 

ClydeTower

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Love the write-up. Whew! I think that is the first Guild Lover who loved any of the new Cordoba Guilds. So happy to read a positive review.

Quick question, you said your F55 has a more "modern" sound... how do you define that? And do you think the fact that the top hasn't opened up yet might change it down the road?

Hey PP, thanks!

Its hard to describe tone with words, especially because everyone hears things differently. To my ears, the F55 as it relates to my D55 and to a certain extent my F512, has a more contemporary sound. I think that for some reason, I equate a slightly drier, woodier sound as being more contemporary. Its like when I play folk music or ballads, I'll naturally reach for my D55, cause it has that sound to my ears. Why my brain hears it like that, I don't know... its all very subjective.
 

bobouz

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It seems to me that the Orpheum series borrowed quite a few characteristics from Ren's work at Gibson, so if he intended to build an Orpheum flavor into this new generation of Guilds, the lighter weight would be a logical step in that direction.

I think Ren has been keenly dialed in for a long time on how to build a highly responsive jumbo acoustic. I've owned three Gibson jumbos, and still have one which was made in 2000. The darn thing is as light as a feather (well, almost!), and it astonishes me every time I pick it up.

Congrats Clyde - and thanks so much for a great review!
 

ClydeTower

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Congrats Clyde - and thanks so much for a great review!

Thanks man!


It seems to me that the Orpheum series borrowed quite a few characteristics from Ren's work at Gibson, so if he intended to build an Orpheum flavor into this new generation of Guilds, the lighter weight would be a logical step in that direction.

I think Ren has been keenly dialed in for a long time on how to build a highly responsive jumbo acoustic. I've owned three Gibson jumbos, and still have one which was made in 2000. The darn thing is as light as a feather (well, almost!), and it astonishes me every time I pick it up.

That makes a lot of sense and its what came to mind when I compared my F55 to my SJ200. Actually, when I look inside both guitars, the bracing pattern looks similar. Obviously different tone woods, so the SJ has all the characteristics of maple vs RW, but like I mentioned in my review, I can't help hearing/feeling some of Ren's years at Gibson inside this guitar...
 

chazmo

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I just want to say that the connection with Ren with the F-55 is kind of spurious, guys. Yes, Ren was responsible for setting up the shop in Oxnard and defining the build processes, but he left a while ago, and the F-55 was a recent addition to the line... I'm not saying there's no influence there, but I don't know how much of a hand he would've had in the F-55.

That said, a pictorial essay of the inside of that F-55 compared with a NH F-50R would be an interesting thing to look at. We already know that the neck block (with its branded cover) and the electronics are different than what we saw from NH... Bracing, materials, etc... I'd like to see that.
 

ClydeTower

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I just want to say that the connection with Ren with the F-55 is kind of spurious, guys. Yes, Ren was responsible for setting up the shop in Oxnard and defining the build processes, but he left a while ago, and the F-55 was a recent addition to the line... I'm not saying there's no influence there, but I don't know how much of a hand he would've had in the F-55.

Does anybody here have enough clout to speak to Drew Haines directly? He's the senior luthier now responsible for building the MIA Guilds. He worked closely with Ren at New Hartford and collaborated with him on the F55.
If anybody knows exactly what went into building the F55, he knows.


That said, a pictorial essay of the inside of that F-55 compared with a NH F-50R would be an interesting thing to look at. We already know that the neck block (with its branded cover) and the electronics are different than what we saw from NH... Bracing, materials, etc... I'd like to see that.

I'm going to be working on the F55 today. Gonna bring down the saddle a bit, so I'l make a point of checking the branded cover more closely, and taking more pictures of the bracing from different angles. Also gotta pick up a battery for my scale to weigh the beast...
 

fronobulax

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I just want to say that the connection with Ren with the F-55 is kind of spurious, guys. Yes, Ren was responsible for setting up the shop in Oxnard and defining the build processes, but he left a while ago, and the F-55 was a recent addition to the line...

The article

http://www.acousticmagazine.com/features/workshop-special-cordoba-vs-guild/

supports the idea that Drew Haines had a lot of input and Drew acknowledges Ren's influence, both from New Hartford and Oxnard.

I suspect if you believe a Ren connection makes your guitar a better instrument then you focus on the influence. But none of the Oxnard instruments are going to come with a certificate of authenticity signed by Ren himself :)
 

fronobulax

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Does anybody here have enough clout to speak to Drew Haines directly? He's the senior luthier now responsible for building the MIA Guilds. He worked closely with Ren at New Hartford and collaborated with him on the F55.
If anybody knows exactly what went into building the F55, he knows.

Not a name or a face I recall from LMG I, II or III but I don't remember everyone. I think part of the story is missing. While Ren was still at Oxnard everyone at LTG believed that no one from New Hartford had made the trip across the country except one person who had worked in finishing. Now - speculation alert - if I were Cordoba and knew Ren would be moving on, and it was friendly, I might ask who he suggested we recruit as his replacement. With that recommendation I would then make an offer that would get someone to move cross country. So Drew may be a hand picked successor. In any event there is a gap between closing NH and Ren leaving Oxnard when we don't know what Drew was doing or who he worked for. Filling that gap with knowledge would be interesting.

As for "clout", if it interests you, why don't you ask? If you have good, focused questions that can be answered without significant effort or revealing proprietary information my sense is they would be glad to answer.
 

ClydeTower

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The article

http://www.acousticmagazine.com/features/workshop-special-cordoba-vs-guild/

supports the idea that Drew Haines had a lot of input and Drew acknowledges Ren's influence, both from New Hartford and Oxnard.

I suspect if you believe a Ren connection makes your guitar a better instrument then you focus on the influence. But none of the Oxnard instruments are going to come with a certificate of authenticity signed by Ren himself :)

The feeling I got was that Ren established the overall vision of where Guild was heading and what the building blocks of that vision were to be. Drew I guess had a fundamental role in the implementation of that vision and probably adapted it along the way incorporating his own flavor which was already influenced by Ren during his time at New Hartford.

If no one here has any "ins" or privileged contacts at Cordoba, I might try myself to contact Drew through whatever channel and have a gentlemanly chat with the man. Why not?
 

chazmo

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Yeah, what fro said, Clyde. Call 'em up and talk to 'em. Or write 'em a letter. My persistent nagging of the general manager in New Hartford resulted in four wonderful meet-ups out there over the years. A little discussion never hurt anybody. Also, as an early owner of one of their premier products, I'll bet they'd love to talk with you!
 

ClydeTower

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C171611=Cordoba Nov 16, 2017, no?

Clyde, congrats and enjoy!

I asked Cordoba how to read the serial number:

C = CALIFORNIA
2 first digits = YEAR
4 last digits = UNIQUE IDENTIFIER

So in other words, the is no way to know by the serial number what day/month the guitar was built (which kinda sucks). You can however email them the serial number and they give you that information.
 

Rayk

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I asked Cordoba how to read the serial number:

C = CALIFORNIA
2 first digits = YEAR
4 last digits = UNIQUE IDENTIFIER

So in other words, the is no way to know by the serial number what day/month the guitar was built (which kinda sucks). You can however email them the serial number and they give you that information.

Someone will break the code in time lol
 

bobouz

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The feeling I got was that Ren established the overall vision of where Guild was heading and what the building blocks of that vision were to be.
My understanding is that Ren supervised the moving of equipment from New Hartford to Oxnard, and then set up the Oxnard factory using a number of the techniques he had brought to NH from Bozeman. His short but significant Guild legacy includes the development of the Oxnard facility.

I think this influence should not be understated. In setting up production processes and procedures, instruments coming out of Guild's new factory will bear his influence for years to come. Same with Bozeman after Ren left. They didn't scrap his methods and equipment the minute he was out the door. In fact, to date I have not seen anything in the internal construction of Gibson acoustics that would indicate they are building them differently from when he was there.

Edit: Also wanted to mention how impressively clean the internal construction of Clyde's guitar is.

Absolutely beautiful throughout!
 
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chazmo

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I asked Cordoba how to read the serial number:

C = CALIFORNIA
2 first digits = YEAR
4 last digits = UNIQUE IDENTIFIER

So in other words, the is no way to know by the serial number what day/month the guitar was built (which kinda sucks). You can however email them the serial number and they give you that information.

Cool. Thanks, Clyde.
 
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