GardMan
Enlightened Member
I’ve had my new (to me) 1982 D-70 for nearly 3 months now (thanks again, BeeCee!). During that time, I’ve played it nearly every day... either alone, or in comparison to one or more of my DV-7Xs (all are currently strung with John Pearse PB bluegrass strings, which are medium bass and light tebles). I’ve pretty much got the nut and saddle “dialed in” to where I want them, moved the nut over 1/64" towards the bass side to better center the strings on the fretboard, and when I changed the strings this past weekend, I took care of a couple of high frets and shot a “henkogram” of the top bracing, which is posted in my “bracing blog”... So I figured it was about time I posted some brief comments on how it sounds, relative to other rosewood Guild dreads I own or have owned.
In the last 15 years, I have had the privilege of owning six (counting the D-70) rosewood dreadnaughts made by Guild between 1976 and 1995, including: 1976 D-50, 1982 D-70, 1992 D-55, 1994 DV-72 (turquoise), 1994 DV-72 MK (malachite), and 1995 DV-73. Five of these (all but the D-50) might reasonably be considered “top-of-the-line” models in their day. All were built in Westerly, R.I., but spanning two “eras:” mid-70s thru early 80s versus early- to mid-90s... My previous comparisons of different subsets of my rosewood dreads can be found here and here... (edited to fix some broken image links).
Here’s a pic of my current stable (from L to R, 1982 D-70 NT, 1994 DV-72 NT, 1994 DV-72MK NT, 1995 DV-73 NT HG; note the bright line below the bass side bridge on the DV-73 is a reflection of sunlight coming thru the blinds, while the spot on the same line closer to the treble side edge is a "beauty mark" in the wood grain):
So, with that preamble, how does the D-70 sound? In a nutshell, like a nicely-balanced rosewood Guild dread...
The D-70 has nice strong bass, tho’ not the gut-rumbling bass of the D-55 or DV-72s, well-balanced mids, and really nice sparkle to the trebles. It sounds great with moderate strumming, but really responds to being driven hard, giving more volume, more bass, and a richness that might not be as apparent when played more lightly (I use medium celluloid picks... but might try this one with a heavier pick). It’s got great sustain. In short, the D-70 has a bright, brash tone that is very reminiscent of my...
...now departed 1976 D-50. Perhaps this is not surprising, given that placement of the top braces and tone bars of the 1982 D-70 and 1976 D-50 are similar, and both also have rosewood bridge plates.
In fact, comparing all four of my current rosewood dreads really made me aware that my three DVs (build in 1994 and 1995) are a tonal “family.” While they all have their idiosyncracies (the DV-73 is the brightest, the turquoise DV-72 is the “boldest,” the DV-72MK is the “grandest”), they all have a “smoothness” and “richness” to their tone, not shared by the D-70 or 76 D-50... perhaps this is the “vintage” character that Guild was seeking and promoting when they were made?
What is the structural basis of this tonal similarity? Part of the answer might lie in the placement of the top braces and tone bars, which is nearly identical in all my three DV examples, and subtly different from dreads from earlier eras (see image above). I wonder if the added brightness of my DV-73 (relative to my two DV-72s) comes from differences in their sound hole bracing? The DV-72s made in 1994 both have a single sound hole reinforcement plate, while the 1995 DV-73 has two smaller braces flanking the sound hole (see my bracing blog). Another contributing factor might be the maple bridge plates used in the DV models. In contrast, all my Guild dreads from 1974-1982, incl the D-50 and D-70, have/had rosewood bridge plates.
Altho’ I no longer have it for a direct comparison, based on my previous comparisons, I think my 1992 D-55 was most similar in tone to my two 1994 DV-72s. I know the D-55 had scalloped braces, a maple bridge plate, and sound hole reinforcing plate similar to the DV-72s. However, I sold it before I started experimenting with Henkograms, so I can’t comment on the placement of top braces and tone bars.
Anyway... those are my thoughts and impressions three months in. If asked “which is better, the D-70, DV-72, or DV-73?” I’d answer, there is no “better”... they’re just “different!” I enjoy them all, and expect the D-70 will share play time with all my DVs. It’s tonal characteristics work very well with much of the music I play these days, and am eager to see how it performs in a “jam” setting (if we ever get to the stage where we can start jamming again).
@awagner, according to your signature, you also have a D-70 and multiple examples of DV-7Xs. I’d be curious to know how my observations compare with yours (or anyone elses, for that matter)?
Cheers!
In the last 15 years, I have had the privilege of owning six (counting the D-70) rosewood dreadnaughts made by Guild between 1976 and 1995, including: 1976 D-50, 1982 D-70, 1992 D-55, 1994 DV-72 (turquoise), 1994 DV-72 MK (malachite), and 1995 DV-73. Five of these (all but the D-50) might reasonably be considered “top-of-the-line” models in their day. All were built in Westerly, R.I., but spanning two “eras:” mid-70s thru early 80s versus early- to mid-90s... My previous comparisons of different subsets of my rosewood dreads can be found here and here... (edited to fix some broken image links).
Here’s a pic of my current stable (from L to R, 1982 D-70 NT, 1994 DV-72 NT, 1994 DV-72MK NT, 1995 DV-73 NT HG; note the bright line below the bass side bridge on the DV-73 is a reflection of sunlight coming thru the blinds, while the spot on the same line closer to the treble side edge is a "beauty mark" in the wood grain):
So, with that preamble, how does the D-70 sound? In a nutshell, like a nicely-balanced rosewood Guild dread...
The D-70 has nice strong bass, tho’ not the gut-rumbling bass of the D-55 or DV-72s, well-balanced mids, and really nice sparkle to the trebles. It sounds great with moderate strumming, but really responds to being driven hard, giving more volume, more bass, and a richness that might not be as apparent when played more lightly (I use medium celluloid picks... but might try this one with a heavier pick). It’s got great sustain. In short, the D-70 has a bright, brash tone that is very reminiscent of my...
...now departed 1976 D-50. Perhaps this is not surprising, given that placement of the top braces and tone bars of the 1982 D-70 and 1976 D-50 are similar, and both also have rosewood bridge plates.
In fact, comparing all four of my current rosewood dreads really made me aware that my three DVs (build in 1994 and 1995) are a tonal “family.” While they all have their idiosyncracies (the DV-73 is the brightest, the turquoise DV-72 is the “boldest,” the DV-72MK is the “grandest”), they all have a “smoothness” and “richness” to their tone, not shared by the D-70 or 76 D-50... perhaps this is the “vintage” character that Guild was seeking and promoting when they were made?
What is the structural basis of this tonal similarity? Part of the answer might lie in the placement of the top braces and tone bars, which is nearly identical in all my three DV examples, and subtly different from dreads from earlier eras (see image above). I wonder if the added brightness of my DV-73 (relative to my two DV-72s) comes from differences in their sound hole bracing? The DV-72s made in 1994 both have a single sound hole reinforcement plate, while the 1995 DV-73 has two smaller braces flanking the sound hole (see my bracing blog). Another contributing factor might be the maple bridge plates used in the DV models. In contrast, all my Guild dreads from 1974-1982, incl the D-50 and D-70, have/had rosewood bridge plates.
Altho’ I no longer have it for a direct comparison, based on my previous comparisons, I think my 1992 D-55 was most similar in tone to my two 1994 DV-72s. I know the D-55 had scalloped braces, a maple bridge plate, and sound hole reinforcing plate similar to the DV-72s. However, I sold it before I started experimenting with Henkograms, so I can’t comment on the placement of top braces and tone bars.
Anyway... those are my thoughts and impressions three months in. If asked “which is better, the D-70, DV-72, or DV-73?” I’d answer, there is no “better”... they’re just “different!” I enjoy them all, and expect the D-70 will share play time with all my DVs. It’s tonal characteristics work very well with much of the music I play these days, and am eager to see how it performs in a “jam” setting (if we ever get to the stage where we can start jamming again).
@awagner, according to your signature, you also have a D-70 and multiple examples of DV-7Xs. I’d be curious to know how my observations compare with yours (or anyone elses, for that matter)?
Cheers!
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