Page 1 of 5 123 ... LastLast
Results 1 to 10 of 47

Thread: NGD: 1988 Artist Award

  1. #1

    NGD: 1988 Artist Award

    Just the one quick and dirty pic:



    This is one of the most amazing instruments I've ever played. I owned a couple of X500s and felt like they were going to be too much guitar for me, but I don't get that feeling with this guitar at all. I'm not entirely sure why yet, either.

    I read in one of the catalogs that the back is made from wood usually reserved for making cellos. It sure is beautiful, but I think that kind of explains why it feels so different. When I was in high school I played in orchestra and band and was generally surrounded by music. I lived in a nice area and so some of the kids had some pretty killer instruments. I think that this guitar reminds me of a really well-made cello. It's somehow on another level than the normal stuff I play, and that goes for those X500s, too. They're not even in the same ballpark.

    The guitar came with flat-wounds and I generally dislike flat-wounds. But the guitar sounds SO good that I can't imagine changing anything. It's refined and elegant.

    The nicest acoustic I have is the DV72, and that's a pretty killer guitar, but compared to this it's just a guitar. This is an orchestral instrument.

    I'm smitten.
    '60s: [ SF3 ]
    '70s: [ S70 | 2x S300AD ]
    '80s: [ X79-3 | 2x X80 | X82 | X100 | S270 | S281 | BHM1 ]
    '80s: [ S300AD | Detonator | Liberator Elite | SF4 | D46 | AA ]
    '90s: [ 2x S100 | X170 | X170T | SF3,4,5 | BB | NB | NB DX ]
    '90s: [ X2000 | X3000 | DV72 | BHM1 ]
    '00s: [ SF3 | SF4 | BB-90 | X160R ]
    '10s:
    [ 2xTB | SF3 ]

    My Reviews: GADsGuilds.com

  2. #2
    Stunning. Congratulations.
    "Outside of a dog, a book is a man's best friend. Inside of a dog it's too dark to read.' Groucho Marx

  3. #3
    >I owned a couple of X500s and felt like they were going to be too much guitar for me, but I don't get that feeling with this guitar at all.<
    I also have owned some high end archtops, vintage Epi, Gretsch Chet, but when I got my AA it was a totally different feeling. It just felt like it was waiting for me to play it, especially for swing stuff. Of course, it could just be me,
    F212: 1964 ,AA: 1975 ,Mark V:1975 ,F50:1976, D-55,1979; X170:1986, F-40:2007, F512:2010, Godin ACS:1999, Giannini 7-string classical, Epi Korean Howard Roberts Custom:1995, Pawless Mesquite Special, 2012. My trio's site: http://bradbilljanet.blogspot.com/

  4. #4

  5. #5
    Super Moderator Default's Avatar
    Join Date
    Jul 2007
    Location
    Philly, or thereabouts
    Posts
    9,886
    Wow, I'm jealous!
    "Steve, you are a man of many goats."~ capnjuan

    "Alternatively, you could just go the ultra-relic route with it. Basically go for a look that says the amp was on fire and they put it out using belt sanders."
    (amps - I need a "99" & "50")

  6. #6
    Senior Member walrus's Avatar
    Join Date
    Dec 2006
    Location
    Massachusetts
    Posts
    12,783
    Oh, that is a tease! Beautiful!

    Looking froward to more tasty photos!

    walrus
    1984 Guild D64
    2011 Guild F-30RCE
    2008 PRS Hollowbody Spruce

  7. #7
    Congrats, Gary! Great guitars can really elevate you; you’re not fighting them and they seem to make everything easier.

    Thats always been the paradox in music education. Student instruments are so bad, that they impede a young player. Yet, unless they’re extremely lucky (or rich), they don’t get the chance to play on something that will make want to play more and get better.
    Chris

    56 A-50, '57 CE-100, 58 A-350, '60 X-150, 60 SF II, '61 M-20, '62 F-20, '64 S-50 Jetstar, '64 Mark II, '65 SFIV, '71 S-90, '75 F-112, '75 Mark IVp, '81 M-80, '82 S-275, 87 Nightbird I, '88 Detonator, 92 F-15ce, '93 X-500, '97 Bluesbird, '99 F-30, 14 NS Aristocrat, '16 NS T-bird
    '54 Masteramp, '60 99j, '63 200-S, '66 T-bass, 66 Thunder T1-12, '69 T-star, 93 Sequoia,
    60s Bari Uke

    http://acornhouseworkshop.com/
    '08 Parlor, '10 Butternut Deuce, '13 Rounder, '14 Kulakeiki

  8. #8
    Quote Originally Posted by AcornHouse View Post
    Thats always been the paradox in music education. Student instruments are so bad, that they impede a young player. Yet, unless they’re extremely lucky (or rich), they don’t get the chance to play on something that will make want to play more and get better.
    The flip side of that is that after learning the basics on a "crappy" instrument (whatever it is), you will feel like you have wings and you can fly once/if you acquire one of a better quality.
    (Of course there's 'crappy" and "crappy", if the thing is flat out unplayable then I see your point)

    Congrats Gary, I'm sure that guitar must feel awesome in addition to being gorgeous.
    D25BR 1972
    DV72 1994
    F212 1975
    S100 1973
    S100 1974 (carved)
    Starfire IV 1966
    X175 1978
    Jetstar 1974

    Quote Originally Posted by fronobulax View Post
    In this world there are always those who march to the sound of a different drummer. These wayward marchers go off and break boundaries. Blistering leads on an acoustic. Purple spandex, and proud of it. Gibsons on a Guild forum. But the world is a better place for their pioneering efforts.

  9. #9
    Super Moderator chazmo's Avatar
    Join Date
    Nov 2007
    Location
    Massachusetts
    Posts
    15,045
    Stunning, GAD. Fabulous wood and extraordinarily beautiful sunburst!

    But, yes, while fiddleback maple is commonly used for classical instruments, you see it all the time on guitars as well. I think the great care and attention that the Westerly folks gave to the build of this instrument is responsible for it's outstanding sound. More than the uniqueness of the maple used in its construction. I could be wrong, though. No matter what, that looks like a treasure, man!
    Guilds:
    1967 MK-VI Artist Special (Hoboken - Jacobs restoration 2018) - "The Mark"
    12ers:
    1994 JF-30-12Bld (Westerly),
    2006 F-512 (Tacoma),
    2010 F-212XL STD (New Hartford) - "Connie"
    2014 Orpheum 12 OOO SHRW (New Hartford)

    Other 12ers:
    1970 Martin D-12-20
    1980 Ibanez AW-75 (Series I)
    1984 Taylor 655

  10. #10
    Senior Member Rich Cohen's Avatar
    Join Date
    Nov 2015
    Location
    Charlottesville, VA
    Posts
    926
    I know how you feel, Gary. My experience is the same. Although I must say my '47 Epiphone Broadway, also with the DeArmond 1000 gives my '66 AA a run for its money. The back of my AA is equally beautiful. The guitar is so well balanced, acoustically, electrically and weight wise.
    RC

    P.S. When I return from India on the 15th Feb, I'll post pics of my new acquisitions.
    Last edited by Rich Cohen; 02-05-2019 at 02:12 PM.
    Guiilds:
    Hoboken: 1957 Archtop X-375B, 1966 Artist Award SB
    Nashville: 1999 Finesse
    Epiphones:
    1934 Royal, 1947 Broadway/DeArmond 1000, 1954 Zephyr Regent/ "New York" pup
    Amp:
    Rivera Jazz Suprema 55 Ruby, the ultimate jazz amp!

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •