gretschbigsby
Member
I think you have to include the late 60's early 70's flat back mahogany topped D-25....
Core Collection Items-Guild Acoustics
- Thread starter Cypress Knee
- Start date
gretschbigsby
Member
I think you have to include the late 60's early 70's flat back mahogany topped D-25....
well I hope somebody's keeping score, looks like the D-25 is definitely in there, possibly even in more than one configuration. Does anyone have an all-mahogany bowed back D-25? Apparently there were some made.
Smith, you have a 'burst G-37? Must look nice, I've never seen one, can you post a pic? Is it maple sides & back?
Smith, you have a 'burst G-37? Must look nice, I've never seen one, can you post a pic? Is it maple sides & back?
well I hope somebody's keeping score, looks like the D-25 is definitely in there, possibly even in more than one configuration. Does anyone have an all-mahogany bowed back D-25? Apparently there were some made.
Smith, you have a 'burst G-37? Must look nice, I've never seen one, can you post a pic? Is it maple sides & back?
Smith, you have a 'burst G-37? Must look nice, I've never seen one, can you post a pic? Is it maple sides & back?
SmithfieldFair
Member
G-37 core
Dred - No, my G-37 has mahogany arched back and sides (veried by my luthier Holger Notzel) and though worn through significant use - I still think it's a beauty. I've never posted a photo here - never tried, so let's see if this works.
OK - that didn't work...how about this?
Nope...not that either....let's see....
By the way, my nephew has a D15M - I think it's numbered - a stunning all-mahogany (top, arched back & sides) that is identical to the D25 as far as I can tell. He bought it from my brother several years back.
I can't get a photo to load here - hey, Jim! How'd you put those photos of Bonnie Raitt in? Someone help me out and I'll post the G37.
Dudley-Brian Smith
Smithfield Fair
Dred - No, my G-37 has mahogany arched back and sides (veried by my luthier Holger Notzel) and though worn through significant use - I still think it's a beauty. I've never posted a photo here - never tried, so let's see if this works.
OK - that didn't work...how about this?
Nope...not that either....let's see....
By the way, my nephew has a D15M - I think it's numbered - a stunning all-mahogany (top, arched back & sides) that is identical to the D25 as far as I can tell. He bought it from my brother several years back.
I can't get a photo to load here - hey, Jim! How'd you put those photos of Bonnie Raitt in? Someone help me out and I'll post the G37.
Dudley-Brian Smith
Smithfield Fair
SmithfieldFair
Member
G-37 core
Dred - No, my G-37 has mahogany arched back and sides (veried by my luthier Holger Notzel) and though worn through significant use - I still think it's a beauty. I've never posted a photo here - never tried, so let's see if this works.
OK - that didn't work...how about this?
Nope...not that either....let's see....
By the way, my nephew has a D15M - I think it's numbered - a stunning all-mahogany (top, arched back & sides) that is identical to the D25 as far as I can tell. He bought it from my brother several years back.
I can't get a photo to load here - hey, Jim! How'd you put those photos of Bonnie Raitt in? Someone help me out and I'll post the G37.
Dudley-Brian Smith
Smithfield Fair
Dred - No, my G-37 has mahogany arched back and sides (veried by my luthier Holger Notzel) and though worn through significant use - I still think it's a beauty. I've never posted a photo here - never tried, so let's see if this works.
OK - that didn't work...how about this?
Nope...not that either....let's see....
By the way, my nephew has a D15M - I think it's numbered - a stunning all-mahogany (top, arched back & sides) that is identical to the D25 as far as I can tell. He bought it from my brother several years back.
I can't get a photo to load here - hey, Jim! How'd you put those photos of Bonnie Raitt in? Someone help me out and I'll post the G37.
Dudley-Brian Smith
Smithfield Fair
Cypress Knee
Member
Hi Dudley,
You need a website hosting your photos so that the
works like this:
You can email me your photos to jim@baltimorerunning.com and I'll put them up for you.
Regards,
Jim
You need a website hosting your photos so that the
You can email me your photos to jim@baltimorerunning.com and I'll put them up for you.
Regards,
Jim
Cypress Knee
Member
Hi Dudley,
You need a website hosting your photos so that the
works like this:
You can email me your photos to jim@baltimorerunning.com and I'll put them up for you.
Regards,
Jim
You need a website hosting your photos so that the
You can email me your photos to jim@baltimorerunning.com and I'll put them up for you.
Regards,
Jim
SmithfieldFair
Member
Sunburst coming
Dred - CypressKnee has graciously said he'll post a photo of my tobacco sunburst G37 (75). Again, I've used this on every session/recording I've done since purchasing it. Steve Stills once tried to buy it from me when I was living in Boulder and my roommate was a friends of his (had been the road manager for Mannasas) and left some nasty scratched on the arched back with his big belt buckle. Kenny Bell, who was Mac Davis' guitarist in the 80's, kept trying to buy it from me when I was working in Nashville (he played a beauty of an Ernie Ball Earthwood guitar - now there was a guitar story). Needless to say, the guitar's got a great history - hitchhiked from Boulder to LA in the 70's to meet with record label A&R guys with demos; hitched from Boulder to Florida, coming through Kansas when the corn was so scorched it lay black in the fields; from Nashville to Muscle Shoals to New Orleans to Baton Rouge in a round of session work....all with that G37 on my back. It's a wonder it's still around and...it sounds better than ever - even and balanced - warm and powerful with clarity and crisp articulation. Mmmmm - thanks All Whitney, you picked a great one. dbs
Dudley-Brian Smith
Smithfield Fair/Stevenson Productions
http://www.smithfieldfair.com
Dred - CypressKnee has graciously said he'll post a photo of my tobacco sunburst G37 (75). Again, I've used this on every session/recording I've done since purchasing it. Steve Stills once tried to buy it from me when I was living in Boulder and my roommate was a friends of his (had been the road manager for Mannasas) and left some nasty scratched on the arched back with his big belt buckle. Kenny Bell, who was Mac Davis' guitarist in the 80's, kept trying to buy it from me when I was working in Nashville (he played a beauty of an Ernie Ball Earthwood guitar - now there was a guitar story). Needless to say, the guitar's got a great history - hitchhiked from Boulder to LA in the 70's to meet with record label A&R guys with demos; hitched from Boulder to Florida, coming through Kansas when the corn was so scorched it lay black in the fields; from Nashville to Muscle Shoals to New Orleans to Baton Rouge in a round of session work....all with that G37 on my back. It's a wonder it's still around and...it sounds better than ever - even and balanced - warm and powerful with clarity and crisp articulation. Mmmmm - thanks All Whitney, you picked a great one. dbs
Dudley-Brian Smith
Smithfield Fair/Stevenson Productions
http://www.smithfieldfair.com
SmithfieldFair
Member
Sunburst coming
Dred - CypressKnee has graciously said he'll post a photo of my tobacco sunburst G37 (75). Again, I've used this on every session/recording I've done since purchasing it. Steve Stills once tried to buy it from me when I was living in Boulder and my roommate was a friends of his (had been the road manager for Mannasas) and left some nasty scratched on the arched back with his big belt buckle. Kenny Bell, who was Mac Davis' guitarist in the 80's, kept trying to buy it from me when I was working in Nashville (he played a beauty of an Ernie Ball Earthwood guitar - now there was a guitar story). Needless to say, the guitar's got a great history - hitchhiked from Boulder to LA in the 70's to meet with record label A&R guys with demos; hitched from Boulder to Florida, coming through Kansas when the corn was so scorched it lay black in the fields; from Nashville to Muscle Shoals to New Orleans to Baton Rouge in a round of session work....all with that G37 on my back. It's a wonder it's still around and...it sounds better than ever - even and balanced - warm and powerful with clarity and crisp articulation. Mmmmm - thanks All Whitney, you picked a great one. dbs
Dudley-Brian Smith
Smithfield Fair/Stevenson Productions
http://www.smithfieldfair.com
Dred - CypressKnee has graciously said he'll post a photo of my tobacco sunburst G37 (75). Again, I've used this on every session/recording I've done since purchasing it. Steve Stills once tried to buy it from me when I was living in Boulder and my roommate was a friends of his (had been the road manager for Mannasas) and left some nasty scratched on the arched back with his big belt buckle. Kenny Bell, who was Mac Davis' guitarist in the 80's, kept trying to buy it from me when I was working in Nashville (he played a beauty of an Ernie Ball Earthwood guitar - now there was a guitar story). Needless to say, the guitar's got a great history - hitchhiked from Boulder to LA in the 70's to meet with record label A&R guys with demos; hitched from Boulder to Florida, coming through Kansas when the corn was so scorched it lay black in the fields; from Nashville to Muscle Shoals to New Orleans to Baton Rouge in a round of session work....all with that G37 on my back. It's a wonder it's still around and...it sounds better than ever - even and balanced - warm and powerful with clarity and crisp articulation. Mmmmm - thanks All Whitney, you picked a great one. dbs
Dudley-Brian Smith
Smithfield Fair/Stevenson Productions
http://www.smithfieldfair.com
Cypress Knee
Member
The Al Whitney Gift to Smithfield Fair's Dudley-Sunburst G37
If I can figure out how to shrink the pic down to 600 pixels to fit the frames I will do it...this one is kind of like Mick Jagger at the IMAX - CK
[img:1200:805]http://www.baltimorerunning.com/Jim's%20Home%20Page/Music/guitar1.jpg[/img]
If I can figure out how to shrink the pic down to 600 pixels to fit the frames I will do it...this one is kind of like Mick Jagger at the IMAX - CK
[img:1200:805]http://www.baltimorerunning.com/Jim's%20Home%20Page/Music/guitar1.jpg[/img]
Cypress Knee
Member
The Al Whitney Gift to Smithfield Fair's Dudley-Sunburst G37
If I can figure out how to shrink the pic down to 600 pixels to fit the frames I will do it...this one is kind of like Mick Jagger at the IMAX - CK
[img:1200:805]http://www.baltimorerunning.com/Jim's%20Home%20Page/Music/guitar1.jpg[/img]
If I can figure out how to shrink the pic down to 600 pixels to fit the frames I will do it...this one is kind of like Mick Jagger at the IMAX - CK
[img:1200:805]http://www.baltimorerunning.com/Jim's%20Home%20Page/Music/guitar1.jpg[/img]
SmithfieldFair
Member
That's one B-I-I-G Guild
Thanks, Jim - But man! that's a huge picture. Ha! Anyway, Dred, you can see the details better. The pickguard is NOT original - it didn't have one for a long time - I have the original in the original case in the attic - but Holger Notzel put this resin pickguard on to protect the wood - which was getting pretty dug-out. You can note the finish around the soundhole is pretty scraped away from intense playing, but the guitar, though dinged up from travel and playing, is in grand shape. The neck is amazing. The peg head only has the gold-painted arched Guild name, but is pretty blackened with age and from putting Kyser capos on in. It's been refretted only once (again by Holger Notzel) and I use medium 80/20 strings on it. The machines are Grover Rotomatics and I think this may be the third set. You can't see the bridge, but one of the things I ALWAYS do on a guitar is take off the plastic bridge pins and replace them with ebony - saddle and nut are both bone.
As another funny aside about this guitar, the pickguard literally fell off in the early 80's. There was a school of thought back then that a pickguard - any pickguard inhibited the top vibration and therefore shouldn't be used. I wasn't sure I bought that, but decided to leave it off. Still, I worried about possible damage to the wood and observed some pick gouging marks. So, I went in and had it put back on. I was also forming a new band and decided since New Wave was so hot that perhaps I should move to electric - though I'd always been terrible on electric. So, I left the G37 in a shop in Ruston, Louisiana on consignment and went over to a store in Monroe to inquire about a Rickenbacker. They didn't have the model I wanted, but said they would in a couple of days. So, I borrowed a gutiar and went to rehearsal. Rehearsal sucked, so I went for a drink after and there at the bar was the guitar store owner who had my Guild. He was drunk and immediately fell to criticizing my Guild, Guilds in general (he loved Martins), and said the guitar would never sell because no one would want it. I dragged him off his barstool, drug him over to his store and made him give me my Guild back then and there. I've never thought of selling it again. Then, I moved to Nashville and the offers to buy it came regularly. One night at a guitar pull, Kenny Bell was again making an offer and I was again turning him down. Luthier Randy Barton was there and the discussion fell to what an incredible guitar my G37 was. Barton said the pickguard was loose and that it should just be taken off to let the top breathe. Bell agreed and they stuck a pick under the edge to get a hold on it and ripped the pickguard off. YEOW! Like someone tearing off your "fake" moustache only to realize it's real. Ow-ow-ow! I did leave it off after that until Holger impressed upon me that some of those digs would be through the face soon and the pickguard should be replaced to stave off further damage. Since time and shrinkage had taken it's toll on the original pickguard and it was curling, he suggested a resin pickguard.
Longer than I meant, but this guitar has some history. dbs
Again, thanks Jim for posting this.
Dudley-Brian Smith
Smithfield Fair/Stevenson Productions
http://www.smithfieldfair.com
Thanks, Jim - But man! that's a huge picture. Ha! Anyway, Dred, you can see the details better. The pickguard is NOT original - it didn't have one for a long time - I have the original in the original case in the attic - but Holger Notzel put this resin pickguard on to protect the wood - which was getting pretty dug-out. You can note the finish around the soundhole is pretty scraped away from intense playing, but the guitar, though dinged up from travel and playing, is in grand shape. The neck is amazing. The peg head only has the gold-painted arched Guild name, but is pretty blackened with age and from putting Kyser capos on in. It's been refretted only once (again by Holger Notzel) and I use medium 80/20 strings on it. The machines are Grover Rotomatics and I think this may be the third set. You can't see the bridge, but one of the things I ALWAYS do on a guitar is take off the plastic bridge pins and replace them with ebony - saddle and nut are both bone.
As another funny aside about this guitar, the pickguard literally fell off in the early 80's. There was a school of thought back then that a pickguard - any pickguard inhibited the top vibration and therefore shouldn't be used. I wasn't sure I bought that, but decided to leave it off. Still, I worried about possible damage to the wood and observed some pick gouging marks. So, I went in and had it put back on. I was also forming a new band and decided since New Wave was so hot that perhaps I should move to electric - though I'd always been terrible on electric. So, I left the G37 in a shop in Ruston, Louisiana on consignment and went over to a store in Monroe to inquire about a Rickenbacker. They didn't have the model I wanted, but said they would in a couple of days. So, I borrowed a gutiar and went to rehearsal. Rehearsal sucked, so I went for a drink after and there at the bar was the guitar store owner who had my Guild. He was drunk and immediately fell to criticizing my Guild, Guilds in general (he loved Martins), and said the guitar would never sell because no one would want it. I dragged him off his barstool, drug him over to his store and made him give me my Guild back then and there. I've never thought of selling it again. Then, I moved to Nashville and the offers to buy it came regularly. One night at a guitar pull, Kenny Bell was again making an offer and I was again turning him down. Luthier Randy Barton was there and the discussion fell to what an incredible guitar my G37 was. Barton said the pickguard was loose and that it should just be taken off to let the top breathe. Bell agreed and they stuck a pick under the edge to get a hold on it and ripped the pickguard off. YEOW! Like someone tearing off your "fake" moustache only to realize it's real. Ow-ow-ow! I did leave it off after that until Holger impressed upon me that some of those digs would be through the face soon and the pickguard should be replaced to stave off further damage. Since time and shrinkage had taken it's toll on the original pickguard and it was curling, he suggested a resin pickguard.
Longer than I meant, but this guitar has some history. dbs
Again, thanks Jim for posting this.
Dudley-Brian Smith
Smithfield Fair/Stevenson Productions
http://www.smithfieldfair.com
SmithfieldFair
Member
That's one B-I-I-G Guild
Thanks, Jim - But man! that's a huge picture. Ha! Anyway, Dred, you can see the details better. The pickguard is NOT original - it didn't have one for a long time - I have the original in the original case in the attic - but Holger Notzel put this resin pickguard on to protect the wood - which was getting pretty dug-out. You can note the finish around the soundhole is pretty scraped away from intense playing, but the guitar, though dinged up from travel and playing, is in grand shape. The neck is amazing. The peg head only has the gold-painted arched Guild name, but is pretty blackened with age and from putting Kyser capos on in. It's been refretted only once (again by Holger Notzel) and I use medium 80/20 strings on it. The machines are Grover Rotomatics and I think this may be the third set. You can't see the bridge, but one of the things I ALWAYS do on a guitar is take off the plastic bridge pins and replace them with ebony - saddle and nut are both bone.
As another funny aside about this guitar, the pickguard literally fell off in the early 80's. There was a school of thought back then that a pickguard - any pickguard inhibited the top vibration and therefore shouldn't be used. I wasn't sure I bought that, but decided to leave it off. Still, I worried about possible damage to the wood and observed some pick gouging marks. So, I went in and had it put back on. I was also forming a new band and decided since New Wave was so hot that perhaps I should move to electric - though I'd always been terrible on electric. So, I left the G37 in a shop in Ruston, Louisiana on consignment and went over to a store in Monroe to inquire about a Rickenbacker. They didn't have the model I wanted, but said they would in a couple of days. So, I borrowed a gutiar and went to rehearsal. Rehearsal sucked, so I went for a drink after and there at the bar was the guitar store owner who had my Guild. He was drunk and immediately fell to criticizing my Guild, Guilds in general (he loved Martins), and said the guitar would never sell because no one would want it. I dragged him off his barstool, drug him over to his store and made him give me my Guild back then and there. I've never thought of selling it again. Then, I moved to Nashville and the offers to buy it came regularly. One night at a guitar pull, Kenny Bell was again making an offer and I was again turning him down. Luthier Randy Barton was there and the discussion fell to what an incredible guitar my G37 was. Barton said the pickguard was loose and that it should just be taken off to let the top breathe. Bell agreed and they stuck a pick under the edge to get a hold on it and ripped the pickguard off. YEOW! Like someone tearing off your "fake" moustache only to realize it's real. Ow-ow-ow! I did leave it off after that until Holger impressed upon me that some of those digs would be through the face soon and the pickguard should be replaced to stave off further damage. Since time and shrinkage had taken it's toll on the original pickguard and it was curling, he suggested a resin pickguard.
Longer than I meant, but this guitar has some history. dbs
Again, thanks Jim for posting this.
Dudley-Brian Smith
Smithfield Fair/Stevenson Productions
http://www.smithfieldfair.com
Thanks, Jim - But man! that's a huge picture. Ha! Anyway, Dred, you can see the details better. The pickguard is NOT original - it didn't have one for a long time - I have the original in the original case in the attic - but Holger Notzel put this resin pickguard on to protect the wood - which was getting pretty dug-out. You can note the finish around the soundhole is pretty scraped away from intense playing, but the guitar, though dinged up from travel and playing, is in grand shape. The neck is amazing. The peg head only has the gold-painted arched Guild name, but is pretty blackened with age and from putting Kyser capos on in. It's been refretted only once (again by Holger Notzel) and I use medium 80/20 strings on it. The machines are Grover Rotomatics and I think this may be the third set. You can't see the bridge, but one of the things I ALWAYS do on a guitar is take off the plastic bridge pins and replace them with ebony - saddle and nut are both bone.
As another funny aside about this guitar, the pickguard literally fell off in the early 80's. There was a school of thought back then that a pickguard - any pickguard inhibited the top vibration and therefore shouldn't be used. I wasn't sure I bought that, but decided to leave it off. Still, I worried about possible damage to the wood and observed some pick gouging marks. So, I went in and had it put back on. I was also forming a new band and decided since New Wave was so hot that perhaps I should move to electric - though I'd always been terrible on electric. So, I left the G37 in a shop in Ruston, Louisiana on consignment and went over to a store in Monroe to inquire about a Rickenbacker. They didn't have the model I wanted, but said they would in a couple of days. So, I borrowed a gutiar and went to rehearsal. Rehearsal sucked, so I went for a drink after and there at the bar was the guitar store owner who had my Guild. He was drunk and immediately fell to criticizing my Guild, Guilds in general (he loved Martins), and said the guitar would never sell because no one would want it. I dragged him off his barstool, drug him over to his store and made him give me my Guild back then and there. I've never thought of selling it again. Then, I moved to Nashville and the offers to buy it came regularly. One night at a guitar pull, Kenny Bell was again making an offer and I was again turning him down. Luthier Randy Barton was there and the discussion fell to what an incredible guitar my G37 was. Barton said the pickguard was loose and that it should just be taken off to let the top breathe. Bell agreed and they stuck a pick under the edge to get a hold on it and ripped the pickguard off. YEOW! Like someone tearing off your "fake" moustache only to realize it's real. Ow-ow-ow! I did leave it off after that until Holger impressed upon me that some of those digs would be through the face soon and the pickguard should be replaced to stave off further damage. Since time and shrinkage had taken it's toll on the original pickguard and it was curling, he suggested a resin pickguard.
Longer than I meant, but this guitar has some history. dbs
Again, thanks Jim for posting this.
Dudley-Brian Smith
Smithfield Fair/Stevenson Productions
http://www.smithfieldfair.com
DB,
I can't wait to see a picture of that "road warrior"!!
I have found the sunburst guitars seem to each have there own visual character. You could call it inconsistent......or you could call it "hand made", but those inconsistencies must be one of the things that draws us to the Westerly Guilds.
This is my "Antique Burst" D-40 in the image I saw when I bought the guitar. I could have sent it back because I was not informed of the extensive fret wear, but I think it is the nicest sunburst ever!!
I can't wait to see a picture of that "road warrior"!!
I have found the sunburst guitars seem to each have there own visual character. You could call it inconsistent......or you could call it "hand made", but those inconsistencies must be one of the things that draws us to the Westerly Guilds.
This is my "Antique Burst" D-40 in the image I saw when I bought the guitar. I could have sent it back because I was not informed of the extensive fret wear, but I think it is the nicest sunburst ever!!
DB,
I can't wait to see a picture of that "road warrior"!!
I have found the sunburst guitars seem to each have there own visual character. You could call it inconsistent......or you could call it "hand made", but those inconsistencies must be one of the things that draws us to the Westerly Guilds.
This is my "Antique Burst" D-40 in the image I saw when I bought the guitar. I could have sent it back because I was not informed of the extensive fret wear, but I think it is the nicest sunburst ever!!
I can't wait to see a picture of that "road warrior"!!
I have found the sunburst guitars seem to each have there own visual character. You could call it inconsistent......or you could call it "hand made", but those inconsistencies must be one of the things that draws us to the Westerly Guilds.
This is my "Antique Burst" D-40 in the image I saw when I bought the guitar. I could have sent it back because I was not informed of the extensive fret wear, but I think it is the nicest sunburst ever!!
hansmoust
Enlightened Member
Sunburst
Nice guitar Mr. P.
But I have a question for you. It doesn't say "Antique Burst" as part of the model designation written on the label, does it? I would think it says 'D-40 Sb' or maybe 'sunburst' in full. Maybe you could let me know!
Thanks!
Hans Moust
Mr. P ~ said:
Nice guitar Mr. P.
But I have a question for you. It doesn't say "Antique Burst" as part of the model designation written on the label, does it? I would think it says 'D-40 Sb' or maybe 'sunburst' in full. Maybe you could let me know!
Thanks!
Hans Moust
hansmoust
Enlightened Member
Sunburst
Nice guitar Mr. P.
But I have a question for you. It doesn't say "Antique Burst" as part of the model designation written on the label, does it? I would think it says 'D-40 Sb' or maybe 'sunburst' in full. Maybe you could let me know!
Thanks!
Hans Moust
Mr. P ~ said:
Nice guitar Mr. P.
But I have a question for you. It doesn't say "Antique Burst" as part of the model designation written on the label, does it? I would think it says 'D-40 Sb' or maybe 'sunburst' in full. Maybe you could let me know!
Thanks!
Hans Moust
Hans,
I believe it is D-40 SB. I picked up the "Antique Burst" name from a Guild catalog I think. I will check tonight and get you the actual designation as well as the serial number for your records.
I believe it is D-40 SB. I picked up the "Antique Burst" name from a Guild catalog I think. I will check tonight and get you the actual designation as well as the serial number for your records.
Hans,
I believe it is D-40 SB. I picked up the "Antique Burst" name from a Guild catalog I think. I will check tonight and get you the actual designation as well as the serial number for your records.
I believe it is D-40 SB. I picked up the "Antique Burst" name from a Guild catalog I think. I will check tonight and get you the actual designation as well as the serial number for your records.