D15M......where is the love?

cupric

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I've been thinking about this and I am a bit perplexed.....why is it that the 80s Mahogany Rush D15s do not get much recognition? I know that they were designed as "no frills" for the most part, but.....
I saw one in great condition, an early one, that sold on EBAY for 600.00. It failed to sell for a bit above that....6 change, and then was relisted and was purchased. That price is only a bit above the cost of new back in the day.
I have one that I purchased back in 1986. I played every model in stock.....and there was many. I had a wadd of cash on me and it was burning a hole. I was intent on getting a life guitar, the best. I had settled on a pretty sunburst, do not remember exactly which model, but towards the high end. The shop was busy so I was told that I'd be next for sale. As I waited I spied a odd brown guitar hanging, tucked into the upper corner behind the sales bench. I asked if I could take it down and check it out...it was awesome. When the time came for my turn to complete my sale I had decided I couldn't walk away without that "ugly" little D15. The salesman said; "REALLY?".... "that has been here forever". I said "definitely". He said, " I play that one ALL the time".
Since then I have had numerous acoustics. Many high end such as D55s. And the D15 is the only one I never sold.
Several years later Martin reintroduced the original D15. It was a hit. But the quality, and sound, was nowhere near the solid Guild D15.
So I've been wondering, where is the love?
 
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dreadnut

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I'd love to have me one. Eventually I'll have the $ when I find the one I want. I'd like a high-gloss red one.
 

beecee

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There are a few folks here who have and love them.

I've played a number of them but the owners would never think of selling.
 

cupric

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Well, there you go I guess. I was the only one with a mahogany topped guitar until the Martin's came out. And everyone noticed regardless of which eye candy they were playing. And she kept up with the best of them despite the limitations of her jockey.
But what is with the low price of the ones that do pop up here and there? $600. for a puff example is stupid money! Mine is not puff. It has some dings from the road, and a chip in the sound hole from a drunkin' band mate tripping on a pickup cord. But she is always in tune. She will fill a room with anything you want her to sound like. And she'll stand with the best acoustics out there and say, "yup, I can do that". And I will not sell. I will pass her on when I can no longer use her.
I did good! I got my lifetime/lifelong guitar on my first try!
 
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adorshki

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Well, there you go I guess. At least someone understands.... They are not all that common. I played mine for decades in the New England area. Parties, open mics, etc. and I was the only one with a mahogany topped guitar until the Martin's came out. And everyone noticed regardless of which eye candy they were playing. And she kept up with the best of them despite the limitations of her jockey.
But what is with the low price of the ones that do pop up here and there? $600. for a puff example is stupid money! Mine is not puff. It has some dings from the road, and a chip in the sound hole from a drunkin' band mate tripping on a pickup cord. But she is always in tune. She will fill a room with anything you want her to sound like. And she'll stand with the best acoustics out there and say, "yup, I can do that". And I will not sell. I will pass her on when I can no longer use her.
I did good! I got my lifetime/lifelong guitar on my first try!

Yeah you did.
:friendly_wink:
I don't think anybody ever "dissed" one here, but like you said I think it's just that they weren't made for all that long so numerically just aren't that common.
They almost always get mentioned when somebody asks about the "holy grail" all-hog archback D25's which were only made for a couple of years themselves.
THE D15 was basically a re-issue of those, so there must have been enough demand at the time.
Even saw a few uber-rare D4's with 'hog tops in the late '90's.
But after that only one last hurrah with an all-hog flatback D25 out of Corona and ever since then they've been flatback only.
 

cupric

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Yes. The archback is awesome. I have heard that this is the only laminate area on the guitar, the remainder being solid (Honduran) mahogany. But my guitar appears to be non laminate. There is a distinct bit of woodgrain on both the outside and inside of the back which appears to do through. I do not know if a solid back can be formed as such. I have had very experienced techs ask the same question. The entirety of the remainder of the guitar is solid/ non laminate. I was also lucky enough to find a original Guild rosewood truss rod cover for my guitar. I also added rosewood end pins. My guitar also has replacement machine heads due to an accident early on which damaged one of the originals. I purchased some black Grover mini Mags back in the 80s which fit in the same footprint as the original chrome Guilds....but look way better as the black is a better fit for my matte brown guitar. So it looks fully customized.
 

Bonneville88

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Had one - beautiful guitar!
Liked it very much but IME just didn't produce volume the way
some of my other Guild dreads do. Sweet sound, but not a powerful sound.

Had a D17, same thing, was a bit of a sonic wallflower. But the 17 also
had the narrowest dang nut /neck width I've ever found on a Guild dread whereas the
15 was just enough wider that it was comfortable to play. Bought several D17s since
selling the 1st one in the hopes of finding a wider nut, but finally gave up :chargrined:

Good to hear yours is still your #1 after all these years!

ImrA5H.jpg
4PY6Db.jpg

aZfBvS.jpg
 

adorshki

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Yes. The archback is awesome. I have heard that this is the only laminate area on the guitar, the remainder being solid (Honduran) mahogany. But my guitar appears to be non laminate. There is a distinct bit of woodgrain on both the outside and inside of the back which appears to do through.
The back is absolutely laminated.
I figured it out on my D25 because I noticed one night a particular grain pattern I recognized was reversed 180 degrees on the inside.
Before that I didn't know it was lam, but the light went on: "Aha! makes sense, lamination's supposed to be stronger by weight anyway."
Thing is, Guild used sheets of veneer provided from a furniture veneer maker, and they typically were consecutive sheets from the same slab of wood, that's why the grain will match so well.
When I mentioned my observation here after joining, one of the Westerly workers mentioned that technically it would have been considered a flaw because they did in fact try to match the grains on both sides of the laminate.
We even had a guy from Europe many years ago who was convinced the arched back on his F65ce was solid because the grain matched so well, even after I posted the explanation for him.

I do not know if a solid back can be formed as such.
I'm not sure myself, but 2 factors I am sure of:
It would be a lot harder than shaping the laminated sheets, and it would be much more prone to cracking.
Which I suspect is why they went laminated in the first place.
It goes all the way back to the F50, their first flattop, and I also suspect it was a logical progression from making archtops, some of which had laminated tops and all of which had arched backs, I think.
The steam press that goes at least all the way back to Westerly is still in use in Oxnard.
I've called it their single most iconic piece of tooling.
:friendly_wink:
 

cupric

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Very nice D17.
I have never had the issue with projection, although I would work around it if possible. I mainly use a pick and can see where a finger strummer/picker might have an issue. I have played outdoor venues with several other players and my guitar was always in the mix. Even for standouts like leads.
On another note, (E perhaps?), I also seem to remember that some D15s came through with a Guild sticker headstock. Mine has the inlay, as does your D17. I am not sure how many actually had the sticker or inlay.
 

adorshki

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Very nice D17.
Yeah, there's that gorgeous golden unstained 'hog again.
On another note, (E perhaps?), I also seem to remember that some D15s came through with a Guild sticker headstock. Mine has the inlay, as does your D17. I am not sure how many actually had the sticker or inlay.

Actually a silkscreen, I think.
Ps make sure you don't miss my post about the backs, I've heard mobile viewing can cut off post visibility and don't know what you're using.
 
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cupric

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Very interesting info! Really good to know. I would have presumed it was formed laminate for the reasons you discussed. I might have bet that it wasn't due to the grain. But now I have food for thought and your explanation makes great sense. Thank you for the information.
 

adorshki

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Headstock logos were not screenprinted on either of these guitars.

Yes, the D15 was the "entry level and originally got "satin" finish as Bowenite has, but the '17's came with High Gloss and other upgrade details.
Can't remember where the 16 fit in, but much like the differences between a D4 and a D25, I think the same relationship was intended between D15 and D17, and inlaid headstock was one of the details.
Also binding and High gloss finish in the case of D4 vs D25, at least.
Eventually the D4 got all of that anyway, but I'd only be speculating about why.
BTW, TRC's upside down on that black faceplate version.
Betcha didn't think I'd catch that, huh?
:glee:
 

cupric

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Good eye Adorski!
It's funny, now that I think of it I've seen several D25s with the silkscreened logo.
 

CosmicArkie

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to elaborate on my initial response, my '88 cherry flavored 15 is very high gloss with inlay sans black faceplate. Originally I thought I'd not care for the lack of binding; but the simple, understated nature of the red 'hog has won me over. The only drawback is the ease with which it can be dinged along the edges.

After playing Stu's 46, this thing whispers. Which is perfect for me as I prefer to sit in the corner and play for myself, by myself. I ain't good enough to be out in public.
 

adorshki

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Good eye Adorski!
It's funny, now that I think of it I've seen several D25s with the silkscreened logo.
Right, even into the late '90's.
Saw an NOS '97 being offered her in Woodgrain Red a while back.
It took a while for me to register that the headstock was also body colored and had the silkscreen (like most D4 production).Hans explained that during that time only the Natural tops got the black faceplates with inlays.
What's really spinning my head right now is the inlay on Bonneville88's D15, without a handy faceplate to lay it into.
And yet the headstock is showing the wings on the sides, so it's not merely wood instead of black.
THAT took some careful work.
Suspecting it must be a pretty late one.
Discovered the '15's ran all the way from '83 to '93 when looking up something else just now.
 

adorshki

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to elaborate on my initial response, my '88 cherry flavored 15 is very high gloss with inlay sans black faceplate.
Sounds like the evolutionary "bling progression" of the '15 was the precedent for the same progression in the D4.
Except for the binding, maybe.
 

Bonneville88

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I'll post the label - this is the only "D15 M-G-H" label I've seen, among many
D15s observed over the years.
The gold tuners may or may not have had something to do with what's written on the label.
Likewise, the coloration on this guitar may or may not have been somewhat different from the
typical brown D15.

Photo album of this guitar here.


lvvPaF.jpg
 

cupric

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Mine is end of 1986 and has the inlay. It is also satin as mentioned. A plain brown guitar, which I feel is part of its appeal. But as I mentioned it is not low end in performance.
It is a worthy Guild!
 
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