Outstanding!
Now, that is a pretty cool story. Old Gloppy is being used as he should be.
Funny you should mention Gloppy, Al.
if you recall, after freeing that D-35 from its spray poly tomb, I ended up giving it to a young talented player I met at an open mic about two years ago.
Last weekend, I played at a music festival nearby. Several sets later, that young player took the stage. In his hand was good old Gloppy, alive, well and sounding great!
So, I have spent some time with the F-50 since it arrived, and dollar-for-dollar, it is the best guitar I own (with a serious nod to my $500 D-25 flat-back, of course).
It will go toe-to-toe with my '60 D-18 and '49 J-50, flagship models from Martin and Gibson. It probably weighs as much as the two other guitars put together, but it has power, volume and sustain that easily matches them. It is a "wetter", brighter guitar compared to the dry fundamental tones of the D-18 and J-45, which is certainly a function of differences in age, size, shape and tonewood, but also is a function of the prototypical "Guild tone" (brighter, more balanced).
The F-50 is the best pure strummer of the three, while the D-18 is a flatpicker's dream and the J-50 is a great all-rounder, and particularly nice when fingerpicked.
So, there you have it. IMO, three awesome tones from three iconic guitars, each uniquely useful.
"Lordy, why would you need more than one?"
I did for like 35 years. Then someones remark about guitar tone lead me to guitar forums. The rest is a sad tale of research, learning, hunting, buying, playing and then...a good review or nice YouTube clip, and it begins again. You must all know what we say when you think about it.
I would be better off spending my time with lessons and playing than staring at my computer screen, LOOKING for the guitar to make me sound better.