Fender sells Guild.

[ladytexan]

I wonder how close they are to Larrivee?

Jim

Close, very close!

 

[griehund]

So, now..... that's an idea!! Instead of buying flats of strawberries on the off-ramps.... we could buy bottles of wine? I LIKE IT!! Good thinking, Pascal!!

OMG, you'll probably be able to get a bottle of FENDER RED around Corona.

 

[AcornHouse]

Any westerner worth his salt will tell you that Oxnard literally translates as "prairie oyster".
Now that I think about it though, "Prairie Oyster, Montana" DOES sound a heck of a lot more inviting than "Oxnard, California".
:biggrin-new:.

Unless you think about what prairie oysters are, if I recall correctly.

 

[Watasha]

I have sent an email directly to Jon Thomas, President of CMG, as well, on Tuesday - to date, no response - content below. But if you would like his personal CMG email address, please sent me a PM.

Dear Mr. Thomas,

As a Guild guitar owner for 41 years, I wanted to send you a short email to let you know how many members of the Let’s Talk Guild (LTG) forum are excited and hopeful about ‘our’ new owner. As one can imagine, there’s been quite a bit of discussion about Cordoba Music Group buying Guild Guitars. LTG is a great resource for anyone who wants to learn more about Guild Guitars and its 61 year history. Perhaps, you and other CMG team members might want to join LTG.

Many LTGers have attended the Let’s Meet Guild (LMG) events held at the New Hartford factory over the past four years. Kim Keller, Customer Service Manager, Guild and Hamer USA Guitars, coordinated and was our host for the LMG events. We love Kim! I have been fortunate enough to have attended the last three LMG get-togethers. The LMG events allowed Guild guitar owners to meet the talented, skilled folks who made our beloved Guilds, Ren Ferguson, and Doyle Dykes. What fun we have had! It was like a homecoming of sorts. At the last LMG (the Guild’s 60[SUP]th[/SUP] Anniversary Celebration), there were about 85 LTGers who travelled from all over to attend. Folks have come from Australia, Germany, Switzerland, and all over the USA. Yep, there’s lots of love for our Guilds.

One member of LTG is Hans Moust, author of the renowned book, The Guild Guitar Book. He always serves as a resource when we have specific questions about any of the acoustic or electric models.

JT, I know CMG does not have any commitment to the employees of the New Hartford facility, but they are such a talented group of folks who know how to make wonderful guitars. It is my hope that at least a few of the former employees might transition to your Oxnard facility. There is concern for the employees.

And finally, congratulations to CMG on the purchase of Guild Guitars! What a gem you have bought! I want to wish you much success and hope the transition is not too stressful for everyone. If there is anything I can do to help, I would be glad to do so.

Awesome letter. I hope they see the passion we all have for these instruments & the brand through well thought out letters like yours. Very well said.

 

[Synchro]

You're a professional skydiver?
:excitement:

Since that's a recurring theme, I'll finally chime in with my take on it: I don't see that as a major hurdle. After all, the NH guys had to do it when Guild was moved in there.
In fact if you think about it, Westerly guys had to learn (Hans mentions the first guitars were the bottom-of-the-line M20's, "for learning"), and we KNOW Corona guys actually had NO acoustic experience and practiced on "kits" and "first articles" (we saw a first article Corona D50 (or 55?) here a while back), and no doubt Tacoma guys had to learn about "Guild" details..why, it's a Guild tradition to break in a new set of luthiers every so often!
:biggrin-new:
The Cordoba background shown so far describes how their luthiers made extensive measurements of some of the highest end classicals to come up with their blueprints, no reason to think they couldn't do the same when tooling up to make steel string guitars.
Not to mention that I'm sure existing blueprints constitute part of the "assets" that are being acquired.
To me, at that level of craftsmanship, "when you're that good, you're that good", and learning how to make something new at a high standard is part of what makes you that good.
I also happened to notice that the article in Vintage Guitar specifically says there WILL be AMERICAN production of steel string guitars IN Oxnard..
If somebody already mentioned that I must have missed it.
I think the only question left is at what level of quantity and quality?
I'd still like to see some American built entry level product like D25, but I'm sure they'll need to be in the $1500.00 ball park at least.

I agree. The ability of CMG to produce real Guilds would be very low on my list of concerns. With any acquisition, no matter whom the buyer, my concern is are they going to continue the designs, heritage and quality of the brand, or just slap a Guild label on some generic P.O.J.

I don't think that will be the case with Cordoba. I lack any firsthand experience as an owner but I get the impression from their website that their knowledge of classical guitars goes well beyond superficial. I've played a handful of Cordoba classical guitars and they seemed fine to me. The principles of the company are young, but that's not such a bad thing, maybe we can get at least forty year's worth of continuity from this owner. I'll start worrying again when I'm 99.

 

[Watasha]

You're a professional skydiver?
:excitement:

Since that's a recurring theme, I'll finally chime in with my take on it: I don't see that as a major hurdle. After all, the NH guys had to do it when Guild was moved in there.
In fact if you think about it, Westerly guys had to learn (Hans mentions the first guitars were the bottom-of-the-line M20's, "for learning"), and we KNOW Corona guys actually had NO acoustic experience and practiced on "kits" and "first articles" (we saw a first article Corona D50 (or 55?) here a while back), and no doubt Tacoma guys had to learn about "Guild" details..why, it's a Guild tradition to break in a new set of luthiers every so often!
:biggrin-new:
The Cordoba background shown so far describes how their luthiers made extensive measurements of some of the highest end classicals to come up with their blueprints, no reason to think they couldn't do the same when tooling up to make steel string guitars.
Not to mention that I'm sure existing blueprints constitute part of the "assets" that are being acquired.
To me, at that level of craftsmanship, "when you're that good, you're that good", and learning how to make something new at a high standard is part of what makes you that good.
I also happened to notice that the article in Vintage Guitar specifically says there WILL be AMERICAN production of steel string guitars IN Oxnard..
If somebody already mentioned that I must have missed it.
I think the only question left is at what level of quantity and quality?
I'd still like to see some American built entry level product like D25, but I'm sure they'll need to be in the $1500.00 ball park at least.

My concern is will they still have the Guild sound? Guilds sound distinctive, they are different from Martins & Gibsons & Taylors. The Guild sound & feel are essential & the good folks on this forum & Guild fans elsewhere won't be fooled for a second if these Oxnard guitars look, feel & (especially) SOUND generic even if they sound "good". Guilds are quirky & different. This cannot be lost in the translation.

This is actually one thing that Fender DIDN'T screw up. The FMIC Guild guitars were Guilds through & through.

 

[bluesypicky]

My concern is will they still have the Guild sound? Guilds sound distinctive, they are different from Martins & Gibsons & Taylors. The Guild sound & feel are essential & the good folks on this forum & Guild fans elsewhere won't be fooled for a second if these Oxnard guitars look, feel & (especially) SOUND generic even if they sound "good". Guilds are quirky & different. This cannot be lost in the translation.

From another thread:

wait for the first guitar to come out of their hands, to see if it will sound and feel like a Guild.
"Qui vivra verra"! Did ya know that one?

Lots of alike thinking and typing it seems.... :excitement:

 

[adorshki]

I have sent an email directly to Jon Thomas, President of CMG, as well, on Tuesday - to date, no response - content below.

THAT was comprehensive, excellent, thanks!
THE only thing I'd add is "We'll be watching you..."
:laughing:

 

[adorshki]

The FMIC Guild guitars were Guilds through & through.

Sheer dumb luck.
They never did figure out how to homogenize the recipes they bought in Westerly, although they came close in Corona.
In the end, they had to resort to imports.
(end of snark attack)
:biggrin-new:

 

[Synchro]

My concern is will they still have the Guild sound? Guilds sound distinctive, they are different from Martins & Gibsons & Taylors. The Guild sound & feel are essential & the good folks on this forum & Guild fans elsewhere won't be fooled for a second if these Oxnard guitars look, feel & (especially) SOUND generic even if they sound "good". Guilds are quirky & different. This cannot be lost in the translation.

This is actually one thing that Fender DIDN'T screw up. The FMIC Guild guitars were Guilds through & through.

That's a great point. Being the owner of both Gretsch and Guild guitars, two marques that are known for a distinctive sound, I certainly understand your concerns.

I know that the two N.S. Guilds I currently own are very distinctive sounding guitars. The Savoy reminds me of Artist Award models I have played in the past, including some vintage examples. I don't have any reference point for the Starfire III, but it impressed me enough that I nabbed the last Starfire IV that FMIC had in stock. That is definitely a unique sound and I want to hear more of it. I would imagine that a lot of it comes down to pickups in this case but, as Fender learned when they took over manufacturing of Gretsch, the construction of a guitar holds a lot of nuances that affect the overall sound.

In the case of FMIC, they have thirty year's experience in reverse engineering vintage guitars. I have heard that the Newark St. models were based upon numerous instruments purchased off eBay and other sources and then examined thoroughly. Hopefully Cordoba will obtain all of Fender's research and have a good basis for continuing the brand with its signature sound.

When Fred Gretsch III bought the rights to the Gretsch name and put the brand back into production he was off-spec in any number of areas. The Gretsch forum at the time was one source which Mike Lewis used to gauge the progress of their efforts to return the brand to vintage specs. It is said that he would visit the forum frequently and, when he noticed that the complaints were decreasing, he knew he was on the right path. Hopefully Cordoba will learn from that example and use the feedback of LTG to help them.

 

[SFIV1967]

The Gretsch forum at the time was one source which Mike Lewis used to gauge the progress of their efforts...

Mike Lewis was afterwards the responsible project manager for the Newark St. line, so he obviously used his previous experience with Gretsch to start the Newark St. line.
Ralf

 

[Synchro]

Mike Lewis was afterwards the responsible project manager for the Newark St. line, so he obviously used his previous experience with Gretsch to start the Newark St. line.
Ralf

Indeed. I've met him and spoken on a couple of occasions. He's a great fellow. He also spearheaded the Roots Collection and, believe it or not, listened to a suggestion I made that they come up with a feedback buster for the triangular sound hole so that it would be a viable choice on a gig. I was as surprised as anyone.

I'm certainly not in the inner circle of FMIC or anything, but I have had some chances to rub elbows with Joe Carducci at Gretsch Roundups etc, and spoken to Mike Lewis a time or two. I make it to to NAMM occasionally and Gretsch is my favorite hangout at the show. Frankly, the entire Fender area is one of the most enjoyable places to be at NAMM. They encourage people to hang out, play and interact. One year I was introduced to Duane Eddy. The next time I visited I got to jam with Paul Pigat. It's a fun place to be. The next time I visit NAMM you can bet that I'll be at the Cordoba booth, either giving them hell or telling them how much I like their stuff.

 

[SFIV1967]

I make it to to NAMM occasionally.

I also was at NAMM 2013 (couldn't make it 2014) and you might have seen the reports I wrote, it was a fun time there, I agree! I was glad to meet most of the Guild key people there.
Just in case here they are (click on the numbers). That's all part of history now...: 1, 2, 3, 4, 5, 6, 7, 8, 9
Ralf

 

[davismanLV]

Hey Al!! I didn't know you're a Valley boy!! Like, OH MY GOD!! That's like SOOOO gnarly!!

(I couldn't resist. Just think, I was right down the highway at Woodland Hills Elementary.)

 

[adorshki]

Hey Al!! I didn't know you're a Valley boy!! Like, OH MY GOD!! That's like SOOOO gnarly!!
(I couldn't resist. Just think, I was right down the highway at Woodland Hills Elementary.)

Sadly, I was whisked away north to the real land of fruits and nuts before I was seven, and have only rarely looked back.
Up here, the Valley Girls put notches on their bed posts. I used to feel so used, but I've managed to get over it.

 

[Watasha]

That's a great point. Being the owner of both Gretsch and Guild guitars, two marques that are known for a distinctive sound, I certainly understand your concerns.

I know that the two N.S. Guilds I currently own are very distinctive sounding guitars. The Savoy reminds me of Artist Award models I have played in the past, including some vintage examples. I don't have any reference point for the Starfire III, but it impressed me enough that I nabbed the last Starfire IV that FMIC had in stock. That is definitely a unique sound and I want to hear more of it. I would imagine that a lot of it comes down to pickups in this case but, as Fender learned when they took over manufacturing of Gretsch, the construction of a guitar holds a lot of nuances that affect the overall sound.

In the case of FMIC, they have thirty year's experience in reverse engineering vintage guitars. I have heard that the Newark St. models were based upon numerous instruments purchased off eBay and other sources and then examined thoroughly. Hopefully Cordoba will obtain all of Fender's research and have a good basis for continuing the brand with its signature sound.

When Fred Gretsch III bought the rights to the Gretsch name and put the brand back into production he was off-spec in any number of areas. The Gretsch forum at the time was one source which Mike Lewis used to gauge the progress of their efforts to return the brand to vintage specs. It is said that he would visit the forum frequently and, when he noticed that the complaints were decreasing, he knew he was on the right path. Hopefully Cordoba will learn from that example and use the feedback of LTG to help them.

While I was actually talking more about the acoustics, I'm glad you answered. As someone who (unfortunately) doesn't own an electric Guild, I'm interested in your viewpoint on that subject. I've always liked the idea of a Gretsch electric. They're their own bird, a lot like Guild. FMIC (along with Fred Gretsch III) has done a MUCH better job with them than they ever did with Guild.

 

[Synchro]

While I was actually talking more about the acoustics, I'm glad you answered. As someone who (unfortunately) doesn't own an electric Guild, I'm interested in your viewpoint on that subject. I've always liked the idea of a Gretsch electric. They're their own bird, a lot like Guild. FMIC (along with Fred Gretsch III) has done a MUCH better job with them than they ever did with Guild.

Fred III rides a tight herd when it comes to the Gretsch marque. He want's the current Gretsch lineup to be at least as good as the vintage examples, and I think he's done pretty well with that. New Gretsch guitars are very good instruments and, in my experience, the quality has been outstanding. It also helps that there is a fairly large and cohesive community of Gretsch players that they are able to mine for opinions and other input.

 

[adorshki]

Fred III rides a tight herd when it comes to the Gretsch marque. He want's the current Gretsch lineup to be at least as good as the vintage examples, and I think he's done pretty well with that.

One of my favorite themes recently: What one guy can do when he pursues his personal vision uncompromisingly.
It took me a while to realize it applies just as well to business as to artistic enterprise.
As we've touched on elsewhere, the dilution of quality seems to begin as soon as he has to start answering to a stockholder's board.

New Gretsch guitars are very good instruments and, in my experience, the quality has been outstanding. It also helps that there is a fairly large and cohesive community of Gretsch players that they are able to mine for opinions and other input.

Let's hope John Thomas has the vision and the insight to see what a valuable resource this forum could be for him.

 

[Synchro]

One of my favorite themes recently: What one guy can do when he pursues his personal vision uncompromisingly.
It took me a while to realize it applies just as well to business as to artistic enterprise.
As we've touched on elsewhere, the dilution of quality seems to begin as soon as he has to start answering to a stockholder's board.

That'a a sad side effect of the capitalistic, free-market economy. I wish I had an answer, but I don't

Let's hope John Thomas has the vision and the insight to see what a valuable resource this forum could be for him.

I concur.

 

[SFIV1967]

Let's hope John Thomas ....

Not John but Jon...
Ralf