DV 73 - how many were made?

Bernie

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Well, seems a lot has been going on since I last was here ! Sorry about mentioning thinner tops as a possible explanation to the DVs peculiar tone as if it was what West had suggested...As the tops are the most important in guitar's tone, it's what I figured out from reading his comments with not enough care. My mistake...

You see Al, a reason why good luthiers' guitars can end up being better than factory's made is because luthiers usualmy weigh their woods and sand them down to the exact thickness that the guitar deserves. Whereas factory made instruments usually get tops (and other parts) that are being cut to a previously defined thickness regardless of each piece of wood specs (works fine when thickness matches perfectly woods' specs, but sometimes ends up with guitars that sound kind of flat or that need heavier strumming or picking to sound good, when it doesn't...). The difference (though probably effective) wouldn't be as obvious with backs and sides I believe (that's how I got confused)...It is possible that high-end guitars like the DVs would get that peculiar way of being done as in some Custom Shops or smaller workshops...

Thanks GardMan for this very interesting comparison between D-55 and DV 7Xs bracings...Their location if different could explain some of the differences maybe(?) as the bracings themselves seem to be the same, like you may have suggested...
I suppose there must be some kind of differences as far as tone is concerned, between mentioned models as you got one DV 73 and two DV72s after selling your D-55 ?
How would you describe these differences then, and how do both guitars compare (DV7X vs D-55 I mean), if its not the aesthetics that got you to pick-up your DVs ?

Sorry West if I misquoted your comments : altogether still an interesting thread there after, very detailed...
Thanks

Bernie
 
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West R Lee

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No apology needed. My impression was, and is that the DV tops, and maybe the sides and backs were sanded to a bit more exacting standards. As mentioned here before, Hans is really the only one who can answer that for sure, but common sense tells me that if I were going to attempt to build a guitar that sounded vintage while still relatively new, I might do things like be more precise with wood thickness, maybe a bracing change or two, and maybe even a bit thinner finish. Now those last two points are speculation on my part, but I think Dave has mentioned subtle bracing changes.......though he mentioned his were identical to that of his D55.

I've just written Hans and asked him to chime in here. Of course, if he tells us, he'll probably have to kill us. Hans has never been shy about telling me I'm full of caca, so let's see if he'll respond.

West

Well, seems a lot has been going on since I last was here ! Sorry about mentioning thinner tops as a possible explanation to the DVs peculiar tone as if it was what West had suggested...As the tops are the most important in guitar's tone, it's what I figured out from reading his comments with not enough care. My mistake...

You see Al, a reason why good luthiers' guitars can end up being better than factory's made is because luthiers usualmy weigh their woods and sand them down to the exact thickness that the guitar deserves. Whereas factory made instruments usually get tops (and other parts) that are being cut to a previously defined thickness regardless of each piece of wood specs (works fine when thickness matches perfectly woods' specs, but sometimes ends up with guitars that sound kind of flat or that need heavier strumming or picking to sound good, when it doesn't...). The difference (though probably effective) wouldn't be as obvious with backs and sides I believe (that's how I got confused)...It is possible that high-end guitars like the DVs would get that peculiar way of being done as in some Custom Shops or smaller workshops...

Thanks GardMan for this very interesting comparison between D-55 and DV 7Xs bracings...Their location if different could explain some of the differences maybe(?) as the bracings themselves seem to be the same, like you may have suggested...
I suppose there must be some kind of differences as far as tone is concerned, between mentioned models as you got one DV 73 and two DV72s after selling your D-55 ?
How would you describe these differences then, and how do both guitars compare (DV7X vs D-55 I mean), if its not the aesthetics that got you to pick-up your DVs ?

Sorry West if I misquoted your comments : altogether still an interesting thread there after, very detailed...
Thanks

Bernie
 
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GardMan

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UPDATE: So this guitar is in a shop, my dad found it and texted me about it today and I've been trying to do some research on it (hence finding this forum and joining the discussion). Going back through the pics he sent, I actually do have one of the back of the headstock, which appears to confirm the serial number on the label is correct: AD720177. It's tricky to see in the pic, but I can barely make it out.

I'm confused how the model could read DV-73 with this serial number. It seems the most logical explanation is a misprint of the model number. So I'm guessing it actually is a DV-72, but with a DV-73 rosette? What do you think?
I looked at all the pics... and this guitar is (IMO) DEFINITELY a DV-73 with a DV-72 serial number corresponding to a 1994 build. Perhaps it is a transition... maybe the first DV-73 "proof of concept" built on the existing DV-72 model? Predating the '94 AD73XXX DV-73s (corrected)? Maybe Hans knows?

IF you are considering a purchase... jump on it before someone else does! I don't think you will be disappointed!

I corrected a line in the post... the guitar in question certainly would not predate the LK DV-72s that were made in 1993. I meant that it predates the AD73 DV-73s in the SN lists for 1994. Just having a small "senior moment"...
 
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West R Lee

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Agree on all points. Beautiful DV73. Buy it!

West

I looked at all the pics... and this guitar is (IMO) DEFINITELY a DV-73 with a DV-72 serial number corresponding to a 1994 build. Perhaps it is a transition... maybe the first DV-73 "proof of concept" built on the existing DV-72 model? Predating even the LKXXXXXX DV-72? Maybe Hans knows?

IF you are considering a purchase... jump on it before someone else does! I don't think you will be disappointed!
 

GardMan

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Thanks GardMan for this very interesting comparison between D-55 and DV 7Xs bracings...Their location if different could explain some of the differences maybe(?) as the bracings themselves seem to be the same, like you may have suggested...
I suppose there must be some kind of differences as far as tone is concerned, between mentioned models as you got one DV 73 and two DV72s after selling your D-55 ?
How would you describe these differences then, and how do both guitars compare (DV7X vs D-55 I mean), if its not the aesthetics that got you to pick-up your DVs ?
Bernie

Bernie,
Here are a couple of threads I started when I bought by first two DVs, comparing them to my (now departed) '92 D-55 and '76 D-50:

http://www.letstalkguild.com/ltg/sh...s-(D-50-D-55-amp-DV-73)&highlight=tale+dreads

http://www.letstalkguild.com/ltg/sh...rather-verbose)&highlight=rosewood+comparison
 

adorshki

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Well, seems a lot has been going on since I last was here ! Sorry about mentioning thinner tops as a possible explanation to the DVs peculiar tone as if it was what West had suggested...As the tops are the most important in guitar's tone, it's what I figured out from reading his comments with not enough care. My mistake...
To tell the truth I was guilty of "going along with you", because the subject has come up before.
Only just now did I see that West only said "thinner woods", and cited the same source I did.
It actually didn't contradict my point, but I repeat, I just haven't found anything explicitly saying they sanded the tops (on any DV's), even though that's obviously a detail one would expect.
And given the known flaws in Guild marketing lit, lack of mention doesn't mean it didn't happen.
@ JIM: I do think the mention of sanding backs and sides was intended to apply to all DV's, because of the preface statement: "The DV series ", but it's just a guess on my part.
And although I said I suspected it was going to come down to topwoods and bracing, it wouldn't surprise me if a model like the DV73, being such low production, actually did get sanded (tap-tuned) tops.
Or hell maybe it's just something about the rosettes being made of minerals?
(Said in humor but now I'm starting to wonder...)
Anyway thanks to both of you for being gentlemen while I did my cactus impersonation: "Prickle-y"
:shame:
 
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West R Lee

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: ))) Now I do know the rosettes were made of minerals because Hans himself told me that he watched a bunch of little Asian ladies pulverize turquoise and lay the chunks in the rosettes. No kidding.

West

To tell the truth I was guilty of "going along with you", because the subject has come up before.
Only just now did I see that West only said "thinner woods", and cited the same source I did.
It actually didn't contradict my point, but I repeat, I just haven't found anything explicitly saying they sanded the tops (on any DV's), even though that's obviously a detail one would expect.
And given the known flaws in Guild marketing lit, lack of mention doesn't mean it didn't happen.
@ JIM: I do think the mention of sanding backs and sides was intended to apply to all DV's, because of the preface statement: "The DV series ", but it's just a guess on my part.
And although I said I suspected it was going to come down to topwoods and bracing, it wouldn't surprise me if a model like the DV73, being such low production, actually did get sanded (tap-tuned) tops.
Or hell maybe it's just something about the rosettes being made of minerals?
(Said in humor but now I'm starting to wonder...)
Anyway thanks to both of you for being gentlemen while I did my cactus impersonation: "Prickle-y"
:shame:
 

hansmoust

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Now I do know the rosettes were made of minerals because Hans himself told me that he watched a bunch of little Asian ladies pulverize turquoise and lay the chunks in the rosettes. No kidding.

Almost true! The ladies didn't do the pulverizing; the inlay material was made from pulverized stones, but it was fabricated somewhere else.

Sincerely,

Hans Moust
www.guitarsgalore.nl
 

adorshki

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: ))) Now I do know the rosettes were made of minerals because Hans himself told me that he watched a bunch of little Asian ladies pulverize turquoise and lay the chunks in the rosettes. No kidding.

West

What I was actually wondering is if the turquoise rosettes sounded better than the pink coral.
Or abalone.
:biggrin-new:
 

Westerly Wood

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What I was actually wondering is if the turquoise rosettes sounded better than the pink coral.
Or abalone.
:biggrin-new:

abalone tapping, that has to be a thing. i can see richard hoover doing that now, to choose the most responsive abalone for his higher end santa cruz rosettes.
 

chazmo

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Abalone tapping. I love it.

"I tap tune my abalone so that it sounds like a pearl falling into the ocean"

-- Famous luthier discredited later in life for claiming he was a merman.
 

adorshki

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abalone tapping, that has to be a thing. i can see richard hoover doing that now, to choose the most responsive abalone for his higher end santa cruz rosettes.

And Santa Cruz abalone is known for its resins, er, resonance.
Hell on some of those beaches whole shells are just lyin' around for the pickin'.
Easier than trying to liberate 'em from feasting sea otters, anyway.
Otters may be cute but they're feisty.
Otter%20with%20abalone%20Evans.jpg
 

Westerly Wood

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And Santa Cruz abalone is known for its resins, er, resonance.
Hell on some of those beaches whole shells are just lyin' around for the pickin'.
Easier than trying to liberate 'em from feasting sea otters, anyway.
Otters may be cute but they're feisty.
Otter%20with%20abalone%20Evans.jpg

i only buy guitars built buy luthiers who wrestle abalone from sea otters, ya know, real luthiers.
 

Westerly Wood

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Abalone tapping. I love it.

"I tap tune my abalone so that it sounds like a pearl falling into the ocean"

-- Famous luthier discredited later in life for claiming he was a merman.

LOL Chaz! he probably worked at Martin. Oh no, I said it.
 

davismanLV

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Okay, here's a random "Tom" type of question: If a factory builds a guitar and it sounds new and after years and years of use and playing and breaking in (the finish, the glues, the wood, everything) it sounds "vintage", then they build and design a guitar that sounds "vintage" right out of the box, what does that sound evolve into over the years and years of playing and use??? :devilish:
 

Westerly Wood

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like that brad pitt movie? where he was born an old man and as he aged he became an infant then died?
 

chazmo

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Okay, here's a random "Tom" type of question: If a factory builds a guitar and it sounds new and after years and years of use and playing and breaking in (the finish, the glues, the wood, everything) it sounds "vintage", then they build and design a guitar that sounds "vintage" right out of the box, what does that sound evolve into over the years and years of playing and use??? :devilish:
Stupendous question, Tom... "Ancient??" "Past prime???" (kind of like a skunked red wine) :)

Actually, a thought that came to mind on a much longer time scale was comparing baroque string instruments with their modern counterparts. Nobody actually plays baroque instruments anymore unless they're performing baroque music and want it to sound period-correct. In a few hundred years, will anyone even play what we call a guitar today? If so, what will be a prized guitar sound 500 years?
 

merlin6666

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Okay, here's a random "Tom" type of question: If a factory builds a guitar and it sounds new and after years and years of use and playing and breaking in (the finish, the glues, the wood, everything) it sounds "vintage", then they build and design a guitar that sounds "vintage" right out of the box, what does that sound evolve into over the years and years of playing and use??? :devilish:

The way they built guitars decades ago (materials, processes, machines etc) was markedly different from the way they are produced nowadays. For me "vintage" implies a guitar that sounds like a NEW guitar in those days sounded, so it can be used to reproduce the authentic sounds of the artists of those days. It's the same as with wine, there were great vintage years and you want preserve that quality through storage of the original, or recreate it through blending.
 

walrus

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Okay, here's a random "Tom" type of question: If a factory builds a guitar and it sounds new and after years and years of use and playing and breaking in (the finish, the glues, the wood, everything) it sounds "vintage", then they build and design a guitar that sounds "vintage" right out of the box, what does that sound evolve into over the years and years of playing and use??? :devilish:

Cripes, I started to think about this, and now I need to sit down...

walrus
 
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