New Guild Day - T-400

SFIV1967

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The fifth and sixth digits differ and, indeed, there is no number of sequence. Perhaps it's #23 of 22. The numbers on the headstock are embossed, just like the GSR M75 in the picture. It's a holiday today. So the sidewalks are still rolled up, but tomorrow I intends to request clarification and a certificate of origin from FMIC.
Well, if the first 3 digits are same it means made on the same day. The last 3 digits refer to the unit number built on that specific day. So why they are different will be a mystery, it's worth to ask Guild however.
Note that the GSR models do not come with a special certificate of origin as far as I know (at least mine didn't), as they didn't count as custom shop models like the Orpheums or American Patriarchs but as Guild Special Run.

So they are mini-hum repros - MIA or the same MIK ones that the NS series uses?
Should be the same MIK mini humbucker as in the Newark St. models but I couldn't find any picture of the GSR T-400 pickups showing them from the back. So maybe Synchro can take a picture when he changes strings next time, how they look from the back and what stickers and connectors are on them.

Ralf
 

Synchro

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Congratulations Synchro, glad you dig the guitar & hope you continue to enjoy it for a long, long time.

So they are mini-hum repros - MIA or teh same MIK ones that the NS series uses?
I'm not sure. They look pretty much identical to the pickups in my MIK Starfire III.

What causes these wolf tones & how do you fix it?
Woldtones are a phenomena of stringed instruments, especially those with a separate bridge and tailpiece. The string length behind the bridge will sound if you pluck it, but it usually dies out quickly. However, if all the star align just so you can have a situation where the pitch of some, or all, of the strings behind the bridge is in tune with concert pitches and then the fun starts. You can trigger a sympathetic vibration by playing a pitch that generates overtones which match the pitch of the segment of a string between the bridge and tailpiece and your guitar will seem haunted.

This problem can seem to come from nowhere, usually after a change in string gauge or bridge height. I triggered it by replacing the bridge and installing a set of Thomastik flat wounds and it was so bad I could barely play it. In the emotion of the moment, I wasn't even sure what was happening. I feared that the body of the guitar was resonant at A below middle C and that I had an unplayable instrument on my hands. It was so bad that merely playing un-amplified would setup a sympathetic sounding of the octave harmonic on the A string and it sounded like an amp in the early stages of feedback, even though it wasn't plugged in. I was apoplectic. Playing it through and amp was horrid. Hit an D, or even worse, and A and the 5th string would quickly build to deafening feedback. The E below middle C was also a problem, but masked by the fact that the resonance on A was so strong that it overpowered the guitar.

After speaking with a friend that has been playing arch tops since the late 40s or early 50s it triggered the idea that this could have been triggered by the bridge having a characteristic resonance all its own. I decided to swap the bridge and tried a stainless steel Compton. In order to support the strings during the bridge swap I rolled up a washcloth and stuffed it user the strings, behind the bridge. I slipped the new bridge in place, set the intonation and played, with the washcloth in place and all was well. When I removed the washcloth all sorts of plinky sounding wolf tones sparkled away whenever I played. Now I had my answer. The combination of changing the string gauge, changing the action and setting the intonation must've setup the A string to have a strong sympathetic vibration behind the bridge that resulted in a mechanical feedback circuit that drove the A string.

The cure was simple, three grommets purchased for 33 cents each at Ace Hardware. The guitar is now tamed.
 

Synchro

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Well, if the first 3 digits are same it means made on the same day. The last 3 digits refer to the unit number built on that specific day. So why they are different will be a mystery, it's worth to ask Guild however.
Note that the GSR models do not come with a special certificate of origin as far as I know (at least mine didn't), as they didn't count as custom shop models like the Orpheums or American Patriarchs but as Guild Special Run.
I'm going to approach it from the standpoint that I just want something to prove that there's nothing bogus about this guitar.

Should be the same MIK mini humbucker as in the Newark St. models but I couldn't find any picture of the GSR T-400 pickups showing them from the back. So maybe Synchro can take a picture when he changes strings next time, how they look from the back and what stickers and connectors are on them.

Ralf
I'll do that, but I typically get 2-3 year's service out of a set of Thomastiks and I crop them short so I can't remove and replace them (greater tuning stability from less wraps), so it could be a while.
 

Zelja

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Woldtones are a phenomena of stringed instruments, especially those with a separate bridge and tailpiece. The string length behind the bridge will sound if you pluck it, but it usually dies out quickly. However, if all the star align just so you can have a situation where the pitch of some, or all, of the strings behind the bridge is in tune with concert pitches and then the fun starts. You can trigger a sympathetic vibration by playing a pitch that generates overtones which match the pitch of the segment of a string between the bridge and tailpiece and your guitar will seem haunted.

The cure was simple, three grommets purchased for 33 cents each at Ace Hardware. The guitar is now tamed.
Thanks for taking the time to explain that so thoroughly, very interesting! So you just clipped the grommets onto some of the strings between the bridge & the tailpiece to dampen the vibrations?

I have tried a stainless steel Compton on my SFV - sounded good but thought there might have been some "pinging" on the G string - may have to revisit that.
 

Synchro

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Thanks for taking the time to explain that so thoroughly, very interesting! So you just clipped the grommets onto some of the strings between the bridge & the tailpiece to dampen the vibrations?

I have tried a stainless steel Compton on my SFV - sounded good but thought there might have been some "pinging" on the G string - may have to revisit that.

I used 3/8" grommets and placed one between the E and the A, another between the D and the G and the third one between the B and the E. i slid them down near the Bigsby and they have stayed put ever since. Players of instruments from the Violin family know all about wolf tones and have devised cures of some elaborateness consisting of devices that clamp on the string and mute the notes. These wolf tone eliminators can be moved until the ultimate spot is found. On bowed instruments the problem is infinitely worse because the bow is a sustained sound, so a wolf tone could render an instrument useless. The grommet solution is pretty easy medicine to take in comparison with what the average cellist has to live with. :)
 

Jeff Haddad

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Congrats on the new T400! I'd love to see more pictures.

I've used tennis racquet vibration dampers between the bridge and tailpiece on Bigsby-equipped guitars to get rid of the pingy-ness. Grommets sounds like a more elegant solution though.
 

Synchro

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Congrats on the new T400! I'd love to see more pictures.

I've used tennis racquet vibration dampers between the bridge and tailpiece on Bigsby-equipped guitars to get rid of the pingy-ness. Grommets sounds like a more elegant solution though.
I'll see what I can do about photos. Pi host them myself so i have to block out some time to FTP them up to my web site.

The grommets work great and are relatively inconspicuous.
 

jcwu

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A T400! That's, like, four times the guitar that my T100 is, if you do the math! :)
 

Bill Ashton

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Synchro, if my reading has led me to the proper impression, the Gibson Byrdland was a combination of features asked of them from Billy Byrd and Hank Garland...I would presume the short scale was one of those features requested. We'd get all in a lather if the spec on the Richie Havens was changed arbitrarily, so I get why Gibson would keep the Byrdland same as it was...for however many they sell now.

Myself, I love the short scale of a Jag, but not sure I could handle a Mustang...even though I long for one as I couldn't have one in 1965... =(
 

Synchro

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Synchro, if my reading has led me to the proper impression, the Gibson Byrdland was a combination of features asked of them from Billy Byrd and Hank Garland...I would presume the short scale was one of those features requested. We'd get all in a lather if the spec on the Richie Havens was changed arbitrarily, so I get why Gibson would keep the Byrdland same as it was...for however many they sell now.

Myself, I love the short scale of a Jag, but not sure I could handle a Mustang...even though I long for one as I couldn't have one in 1965... =(

You're 100% correct in that. IIRC, Hank Garland wanted shorter scale so he could hot rod all over the place on the neck. Why they didn't see fit to consult me, back when I was an infant, goes beyond comprehension . . . :) . . . because I would have put the straight on the matter! :)

I actually got to play one of Garland's Byrdlands a few years ago. It was setup amazingly light. I appreciate the Byrdland for what it is, but I think that the T400 is better suited to my playing.
 

Synchro

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May you have many years of giddy Guild bliss!

Thanks. Right now, out of something like a dozen guitars, the Guilds are placing quite well as regards playing time. The Starfire III was at my last gig, the T-400 at the last band rehearsal and will be at the next one too. When I'm just looking for something to play around the house the Savoy seems to fill the bill.
 

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I did several hours with the T-400 tonight, including an A/B test with my Gretsch Country Club. Sound wise, the two guitars are similar with the T-400 being a bit brighter. The Country Club is a bit huskier sounding, but you'd be hard pressed to tell the difference unless you were purposely trying to pick out the details. So, here are the details:

The Anti-Hums and the Filtertrons are the same size which suggests similar bobbin spacing. Both have a focused sound that doesn't turn to sonic mush. I don't have an inductance meter, but I suspect that the Filtertrons are roughly similar in output to the Anti-Hums as well. The Guild pickups might be a bit stronger, but they are definitely in the same neighborhood output-wise. The pickup spacing is quite different, however, being 3/4" more broad on the Guild. The neck pickup is 3/8" farther from the bridge and the bridge pickup is 3/8" closer to the bridge on the Guild so that when only one pickup is selected the sound is more enhanced in the direction of that pickup. On the other hand, when both pickups are selected on the Guild they are covering a wider area of the string with more variation in harmonic output so the sound on both pickups tends to be pretty mellow on the Guild. Mellow, not indistinct, however.

The specs on these guitars don't differ all that much, both are 17" guitars with solid spruce tops and maple bodies. The Gretsch has a slightly longer scale at 25.5" as opposed to 24.75" on the Guild. That's 3% difference in string tension (I use the same string gauges on both guitars) so the effect is minimal, probably below the threshold of perception. The Guild is 2" deep, the Gretsch 2.75" deep but it has a soundpost so it is less resonant. I would rate them as functionally equal, albeit slightly different.

The Guild pickups seem to interact differently with the front end of the amp, whether I'm talking about a Deluxe Reverb or one of my beloved Winfield's. When you push it a bit the Guild pickups have a complex, interesting sound. I don't know how to describe it, but it's delightful. I'm not much for distortion, but when I play Rock, etc, I like to ride the edge, neither clean nor broken up. The Guild pickup is a good tool for this. Likewise, the EF86 front end in my Winfield amps does much the same thing, having a broad range that is not entirely linear but not truly broken up. Pairing these pickups with one of these amps is sublime. It is an interesting sound and works for a lot of different things.

In the flick of the pickup switch the T-400 can go from Don Rich Chik'n Pik'n to Wes Montgomery Jazz sounds. That is impressive! You can cruise endlessly on both pickups and cover a wide range of country and Rock sounds just by virtue of your technique. The widely spaced pickups respond well to pick positioning so you can get mellow just by picking further towards the neck. If you want to use pinch harmonics the bridge pickup will detect those overtones and send them along to the amp yielding a sound that is strained, yet mellow all at the same time.

The tone pots add versatility but are hardly a necessity. I did experiment with backing the neck tone control down and could do a pretty decent take on the late Jim Hall's sound through the neck pickup. With the tone controls all the way up and both pickups selected Chet Atkins' sound was there for the taking. For this task, the T-400 is every bit as capable as a Gretsch . . . which is a good way to draw to a conclusion.

I have 13-14 guitars and none of these guitars have ever given me anything but great sound and great reliability. I've tweaked here and there, pickup swaps, etc, but at the end of the day I can probably play a gig on any of my archtops and do just fine. Sometimes the choice of which instrument to take to a gig is esoteric. Having an old collar bone injury on my left shoulder, weight has become a major concern, even a six pound guitar can become uncomfortable by the end of a gig. The Guild wins big in this dimension, weighing about a pound less than my Country Gent. I think that this T-400 will be played and quite frequently.
 

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That's a well written and informative review of the guitar - the kind of thing that makes one want to take out a third mortgage. The guitar is nothing short of beautiful and I'm glad there was a opportunity for these to be produced for a brief period of time in New Hartford. In the back of my mind I'd hoped there would be a Newark Street Version for 2015 but alas that most likely won't happen but if for some reason it does I'll grab one quickly. I really like the idea of the 2x17"body with the mini hums.
 

Synchro

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That's a well written and informative review of the guitar - the kind of thing that makes one want to take out a third mortgage. The guitar is nothing short of beautiful and I'm glad there was a opportunity for these to be produced for a brief period of time in New Hartford. In the back of my mind I'd hoped there would be a Newark Street Version for 2015 but alas that most likely won't happen but if for some reason it does I'll grab one quickly. I really like the idea of the 2x17"body with the mini hums.
I had actually planned to try and buy one early next year, using my tax refund but when events unfolded as they did I had the opportunity to get a great deal on one now. There are some oddities, such as two different serial numbers, one stamped into the headstock and one on the tag inside the body. There's also no sequence number, as in #? of 22. I suspect that it may be #23 in a series of 22. In any event, it's a beautiful instrument with great sound and feel. Sonically, it's not much different than my N.S. Starfire III so you can get close to the same sound without taking a third mortgage. There are differences, but nothing that an audience would notice. They are both great sounding guitars.

As if my little buying spree wasn't enough, there's a Capri on the way too. The dealer expects it today, so I might be welcoming one more to the stable.
 

SFIV1967

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The Gretsch has a slightly longer scale at 25.5" as opposed to 24.75" on the Guild.
Have you actually measured the Guild? Because on the T-500 for instance the spec sheet showed 24.75" but it was 25.5"! ( http://www.letstalkguild.com/ltg/sh...ew-GSR-T-500&p=1593999&viewfull=1#post1593999 )

There's also no sequence number, as in #? of 22. I suspect that it may be #23 in a series of 22.
Now the fact that your guitar shows no sequential number on the label seems to happen more often...mbuc's GSR T-500 has the same problem! mbuc also speculated if it might be #26 (of 25...) that he got. Guildman had helped him contacting Kim Keller and got following response: http://www.letstalkguild.com/ltg/sh...ew-GSR-T-500&p=1589517&viewfull=1#post1589517

Ralf
 

mbuc

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Well, I wouldn't call it a problem. I don't mind if it's #25 or #26 or even #27. Who cares if it's a great guitar. And I would never expect anybody from New Hartford to admit that they have produced a few more. If they have, that is.

Regarding the scale length, I would not be surprised if it was 25,5" on the T-400, too.
 

Synchro

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Have you actually measured the Guild? Because on the T-500 for instance the spec sheet showed 24.75" but it was 25.5"! ( http://www.letstalkguild.com/ltg/sh...ew-GSR-T-500&p=1593999&viewfull=1#post1593999 )

Now the fact that your guitar shows no sequential number on the label seems to happen more often...mbuc's GSR T-500 has the same problem! mbuc also speculated if it might be #26 (of 25...) that he got. Guildman had helped him contacting Kim Keller and got following response: http://www.letstalkguild.com/ltg/sh...ew-GSR-T-500&p=1589517&viewfull=1#post1589517

Ralf

I just checked and it is, indeed, a 25.5" scale.
 

cc_mac

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I had actually planned to try and buy one early next year, using my tax refund but when events unfolded as they did I had the opportunity to get a great deal on one now. There are some oddities, such as two different serial numbers, one stamped into the headstock and one on the tag inside the body. There's also no sequence number, as in #? of 22. I suspect that it may be #23 in a series of 22. In any event, it's a beautiful instrument with great sound and feel. Sonically, it's not much different than my N.S. Starfire III so you can get close to the same sound without taking a third mortgage. There are differences, but nothing that an audience would notice. They are both great sounding guitars.

As if my little buying spree wasn't enough, there's a Capri on the way too. The dealer expects it today, so I might be welcoming one more to the stable.

Oddities make things more interesting any maybe that's why Guild always appeals to me. Your comment about the NS SF III and the T400 caught my attention. The pickups being the same and some of the dimensions of the body being close could contribute to that. More importantly your statement that the audience wouldn't notice cracked me up because it's so true and I sometimes get way to caught up in what I am holding instead of what I am playing.

The NS CE100D is definitely a guitar that interests me and I'm not sure if anyone on LTG has one yet. If they are up to the standards of the rest of the NS archtops then it should be a winner. The closest dealer to me is Harry's Guitars in Raleigh, NC which is about a hour and change away. I checked their online inventory and no CE100D yet but they do have a T-400 listed in stock. I might have to visit but leave my VISA card at home.
 
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