steverok said:
Cool. Thanks everyone. So Metalman, you are saying the D50 employs larger frets? OK, that could come into play when sliding around, which I do. But other than that, are you saying that the D50 and D55 are of the same construction? This is still unclear to me. I see, for instance, that the new ones have a red spruce top, but I don't think the old ones do. And I suppose an old one in good condition should go from somewhere in the $750 to $1000 range ?
Steve,
Okay, I was comparing the pre-fender D-50 and D-55. The corona-built D-50 was a big disappointment. I played it in the store, and did not like it one bit. Never played a Corona-built D-55.
Now the Tacoma built 55 and 50 are thus: The D-50 (as well as the new D-40, and F-30) has a red spruce top. The D-55 has a sitka spruce top. This I know for sure.
If I lost ALL my guitars, and I had to pick one, I would go for the new Tacoma-built D-50. It doesn't capture very much of that original bling of the '82, but comes close, and is a very nice playing guitar.
Mandolin Brothers in Staten Island had one of each in their showroom, and I was able to compare the two. The differences between them were greater than their '80s and '90s counterparts. The D-55, more majestic, warmer, fuller. The D-50, similar, just a bit brighter, more, how should I say it, "spartan-sounding".
I don't remember feeling any difference in the feel, other than the D-55 had pearl block inlays, and it seemed to have a smoother feel. The D-50 had dot inlays, and maybe it did have higher, thinner frets. Come to think of it, as I am writing this, it did have the higher frets, as opposed to the D-55. So there you have it.
Oh,I forgot to mention my D-50 is a "factory-second". Meaning, in the early '80s, Guild was releasing into the market guitars that didn't quite pass inspection. It knocked the price down about 20% or so.
It was a result of blemishes, cracks, etc. BUT . . . the sitka spruce top on mine has such a fine, close grain, that it has a cross-silk pattern running across the top, and you don't find that on anything but the most expensive Martins.
I had spoken to Martin during a factory tour around this time, and asked what they do with guitars that come off the line with blemishes, cracks, dips, etc. Hoping for a Martin second, I got this answer:
"We cut them in half, and discard them. Nothing goes out of here that is not perfect."
Makes sense.