GardMan
Enlightened Member
In Sept 2013, I posted a review/comparison of my then stable of three rosewood Guild dreads: a 1976 D-50, a 1992 D-55, and a 1995 DV-73. I concluded that two post comparison with this statement:
That “something else” came along in the form of Derrick’s 1994 DV-72MK NT HG, which I received in early October... bringing my total rosewood dread stable to four. After A/B/C/Ding the four guitars for about a month... how did the DV-72 stack up against my other rosewood dreads? Well, it is definitely a beautiful sounding and looking guitar. But, before I get into the tonal comparisons, a couple of pics and interesting observations.
First, like my DV-73, the nut width of my “new” DV-72 is closer to 1-3/4" then 1-11/16". It measures1.73" with my digital micrometer, and if you set the caliper on the DV-72's neck right at the front of the nut, and then move it to another guitar, it is easily ~1/16" wider than all my other Westerly-era dreads, except the DV-73. So... all you other DV-7X owners... get out your digital micrometers and measure those nut widths... are mine just flukes, or do all the high end DVs have wider necks? The 72's neck is less full front to back than the 73's, more similar to my other Guilds. The DV-73, in contrast, has a neck like a baseball bat... very noticeable when I swap capos from one neck to the other!
Next, as mentioned in a previous thread, the bracing of the DV-72 is more similar to that of my (now departed) D-55. In particular, the sound hole of both the ‘94 DV-72 and ‘92 D-55 is completely surrounded by a thin, one-piece plate-like brace. In contrast, the sound hole of the DV-73 (made in 1995), like all of my older Westerly dreads, is flanked by two thin straight braces, one on each side of the sound hole.
Also, both my DVs are on the heavy end of the spectrum... weighing in at 5# 12 (DV-72) and 5# 15 oz (DV-73). This puts them right up there with my D-55, D-50, and D-46. The '74 D-25 and G-37 are in the middle at ~5 - 5.5#, and the early ‘70s D-44 and D-35 are the lightweights at about 4.25#.
One of the first things I did when the 72 arrived was re-string it with John Pearse PB lights. The D-55 got a new set of JP PB lights, and the DV-73 got JP PB bluegrass gauge (I didn’t change the 50s strings for this comparison... but they were still far from “dead”). I also swapped out the 72s plastic pins for the bone and abalone pins I had made for my D-55 by the late Gordon Orth. I have a Colosi bone saddle for the 72, but haven’t had a chance to swap it in, yet.
At first play, the DV-72 sounded very much like my DV-73... I thought that made a lot of sense (until I discovered the bracing differences noted above). Both are more balanced than the D-55, and have a smoother and warmer sound than the “in-your-face” tone of the D-50. The 72 is perhaps a bit louder than the 73 or D-55. None of them are slouches when it comes to volume... but I think the D-50 edges them all in that department.
As I played the 72 more, tho’, I came to the impression that it is a bit warmer and has a bit stronger bass response than the DV-73 (the 73 is no slouch, mind you!). This was one place where I thought the D-55 edged the DV-73... on a couple of specific tunes (City of New Orleans, being one), playing Am or Em in open position (no capo), you can feel the D-55s bass rumble in your gut... the DV-73, less so (despite being strung with bluegrass gauge). So, tho’ the DV-73 is a great looking and sounding guitar... to my ear more versatile then the D-50 or D-55, and has been my main player for the last two years, it didn’t seem to be a complete replacement for my D-55.
The DV-72, on the other hand, has the same gut rumbling bass in an overall package with, like the DV-73, more tonal balance (especially the mids) than the D-55. The DV-72 really does provide everything I wanted tone-wise, in a stunningly simple, beautiful package. It will, without a doubt, become my main player for the foreseeable future. Thank-you Derrick!
So... with some regret, I sold my D-55 to a gentleman from Idaho Falls last week (he drove 3 hrs each way to try it out).
That “something else” came along in the form of Derrick’s 1994 DV-72MK NT HG, which I received in early October... bringing my total rosewood dread stable to four. After A/B/C/Ding the four guitars for about a month... how did the DV-72 stack up against my other rosewood dreads? Well, it is definitely a beautiful sounding and looking guitar. But, before I get into the tonal comparisons, a couple of pics and interesting observations.
First, like my DV-73, the nut width of my “new” DV-72 is closer to 1-3/4" then 1-11/16". It measures1.73" with my digital micrometer, and if you set the caliper on the DV-72's neck right at the front of the nut, and then move it to another guitar, it is easily ~1/16" wider than all my other Westerly-era dreads, except the DV-73. So... all you other DV-7X owners... get out your digital micrometers and measure those nut widths... are mine just flukes, or do all the high end DVs have wider necks? The 72's neck is less full front to back than the 73's, more similar to my other Guilds. The DV-73, in contrast, has a neck like a baseball bat... very noticeable when I swap capos from one neck to the other!
Next, as mentioned in a previous thread, the bracing of the DV-72 is more similar to that of my (now departed) D-55. In particular, the sound hole of both the ‘94 DV-72 and ‘92 D-55 is completely surrounded by a thin, one-piece plate-like brace. In contrast, the sound hole of the DV-73 (made in 1995), like all of my older Westerly dreads, is flanked by two thin straight braces, one on each side of the sound hole.
Also, both my DVs are on the heavy end of the spectrum... weighing in at 5# 12 (DV-72) and 5# 15 oz (DV-73). This puts them right up there with my D-55, D-50, and D-46. The '74 D-25 and G-37 are in the middle at ~5 - 5.5#, and the early ‘70s D-44 and D-35 are the lightweights at about 4.25#.
One of the first things I did when the 72 arrived was re-string it with John Pearse PB lights. The D-55 got a new set of JP PB lights, and the DV-73 got JP PB bluegrass gauge (I didn’t change the 50s strings for this comparison... but they were still far from “dead”). I also swapped out the 72s plastic pins for the bone and abalone pins I had made for my D-55 by the late Gordon Orth. I have a Colosi bone saddle for the 72, but haven’t had a chance to swap it in, yet.
At first play, the DV-72 sounded very much like my DV-73... I thought that made a lot of sense (until I discovered the bracing differences noted above). Both are more balanced than the D-55, and have a smoother and warmer sound than the “in-your-face” tone of the D-50. The 72 is perhaps a bit louder than the 73 or D-55. None of them are slouches when it comes to volume... but I think the D-50 edges them all in that department.
As I played the 72 more, tho’, I came to the impression that it is a bit warmer and has a bit stronger bass response than the DV-73 (the 73 is no slouch, mind you!). This was one place where I thought the D-55 edged the DV-73... on a couple of specific tunes (City of New Orleans, being one), playing Am or Em in open position (no capo), you can feel the D-55s bass rumble in your gut... the DV-73, less so (despite being strung with bluegrass gauge). So, tho’ the DV-73 is a great looking and sounding guitar... to my ear more versatile then the D-50 or D-55, and has been my main player for the last two years, it didn’t seem to be a complete replacement for my D-55.
The DV-72, on the other hand, has the same gut rumbling bass in an overall package with, like the DV-73, more tonal balance (especially the mids) than the D-55. The DV-72 really does provide everything I wanted tone-wise, in a stunningly simple, beautiful package. It will, without a doubt, become my main player for the foreseeable future. Thank-you Derrick!
So... with some regret, I sold my D-55 to a gentleman from Idaho Falls last week (he drove 3 hrs each way to try it out).
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