AlohaJoe said:
Beautiful instruments, thanks for posting the pics! I've been considering getting either a Slim-Jim or a CE-100, so I'd be interested in your take on the differences.
Well dear Joe..my humble opinion about the differences between T100D and Capri CE100D ..
I love the T100D to death ,since I got it a little more than one year ago I fell in love with the look, the comfortable and well crafted neck,the wonderful grain of the Brazilian rosewood fretboard, the slim light body,that has got a nice acoustic tone unplugged,and the tone of the pickups.Depending on the year of making the pickups are different through the years,the fabled Franz P90 in the Fifties and early Sixties:mine,being a 1964 model, has got those different chromed single coils that I absolutely love:clean sparkling tone pretty loud both in neck and bridge position,and gorgeous vintage crunch from dirty to full "KINKS"distortion when well saturated .From around 1966 on the T100D mounted the so called "Mickey Mouse" single coils that I 've never had the chance to hear,but they have lesser reputation generally,being the cheapest option Guild offered at the time. To me the "feel" and "mojo" of this T100D is hard to match if you play Classic Rock-Blues-Beat music and are after a sixties influenced sound,but a smooth Jazz tone is possible too on the warm deep sounding neck p.u. as well.
The CE100D is an entirely different animal to me. Compared to the Slim Jim I had to get used to the bigger body (very comfortable and a joy to embrace if ,like me, you love acoustic guitars too),a slitghtly different neck shape ,but mostly I had to get used to the sound of the Guild Sixties Mini-Humbuckers,it took me a lot of time to set them up (the right distance and angle from the strings,and each millimetrical difference adjusting the pole pieces made a huge difference,between crap flat dumb tone and gorgeous lush tone.To tell the truth I'm still experimenting with those pickups.. Another issue for me was that the p.u's are very microphonic and tend to feedback a lot when you play loud live on stage,I should really pot them,and that would solve the hassle.I had to change the original 1966 Volume and Tone pots because they were totally oxidated and didn't work very well,despite one week of daily spraying them . Anyway I was rewarded of all this care and attention with a great instrument,very versatile and with a big voice and tone,and a stunning look too, so much better than the similar Gibson ES 175.The bigger and deeper body adds depth and character to the amplified sound, the neck p.u. is a bit dark but warm at the same time.
It's a great instrument for Jazz or Rock'n'Roll and Rockabilly styles,but a couple of weeks ago I used it live for fabulous versions of Cream's "Sunshine of Your Love" and Led Zeppelin "Good Times Bad Times" and it delivered the requested tones 100% !!!!!
