Some thoughts on my new (to me) 1982 D-70 and my other rosewood dreads...

GardMan

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I’ve had my new (to me) 1982 D-70 for nearly 3 months now (thanks again, BeeCee!). During that time, I’ve played it nearly every day... either alone, or in comparison to one or more of my DV-7Xs (all are currently strung with John Pearse PB bluegrass strings, which are medium bass and light tebles). I’ve pretty much got the nut and saddle “dialed in” to where I want them, moved the nut over 1/64" towards the bass side to better center the strings on the fretboard, and when I changed the strings this past weekend, I took care of a couple of high frets and shot a “henkogram” of the top bracing, which is posted in my “bracing blog”... So I figured it was about time I posted some brief comments on how it sounds, relative to other rosewood Guild dreads I own or have owned.

In the last 15 years, I have had the privilege of owning six (counting the D-70) rosewood dreadnaughts made by Guild between 1976 and 1995, including: 1976 D-50, 1982 D-70, 1992 D-55, 1994 DV-72 (turquoise), 1994 DV-72 MK (malachite), and 1995 DV-73. Five of these (all but the D-50) might reasonably be considered “top-of-the-line” models in their day. All were built in Westerly, R.I., but spanning two “eras:” mid-70s thru early 80s versus early- to mid-90s... My previous comparisons of different subsets of my rosewood dreads can be found here and here... (edited to fix some broken image links).

Here’s a pic of my current stable (from L to R, 1982 D-70 NT, 1994 DV-72 NT, 1994 DV-72MK NT, 1995 DV-73 NT HG; note the bright line below the bass side bridge on the DV-73 is a reflection of sunlight coming thru the blinds, while the spot on the same line closer to the treble side edge is a "beauty mark" in the wood grain):
P7210019.jpg


So, with that preamble, how does the D-70 sound? In a nutshell, like a nicely-balanced rosewood Guild dread...

The D-70 has nice strong bass, tho’ not the gut-rumbling bass of the D-55 or DV-72s, well-balanced mids, and really nice sparkle to the trebles. It sounds great with moderate strumming, but really responds to being driven hard, giving more volume, more bass, and a richness that might not be as apparent when played more lightly (I use medium celluloid picks... but might try this one with a heavier pick). It’s got great sustain. In short, the D-70 has a bright, brash tone that is very reminiscent of my...
...now departed 1976 D-50. Perhaps this is not surprising, given that placement of the top braces and tone bars of the 1982 D-70 and 1976 D-50 are similar, and both also have rosewood bridge plates.

Henkograms compiled (revised July 2020-2).jpg


In fact, comparing all four of my current rosewood dreads really made me aware that my three DVs (build in 1994 and 1995) are a tonal “family.” While they all have their idiosyncracies (the DV-73 is the brightest, the turquoise DV-72 is the “boldest,” the DV-72MK is the “grandest”), they all have a “smoothness” and “richness” to their tone, not shared by the D-70 or 76 D-50... perhaps this is the “vintage” character that Guild was seeking and promoting when they were made?

What is the structural basis of this tonal similarity? Part of the answer might lie in the placement of the top braces and tone bars, which is nearly identical in all my three DV examples, and subtly different from dreads from earlier eras (see image above). I wonder if the added brightness of my DV-73 (relative to my two DV-72s) comes from differences in their sound hole bracing? The DV-72s made in 1994 both have a single sound hole reinforcement plate, while the 1995 DV-73 has two smaller braces flanking the sound hole (see my bracing blog). Another contributing factor might be the maple bridge plates used in the DV models. In contrast, all my Guild dreads from 1974-1982, incl the D-50 and D-70, have/had rosewood bridge plates.

Altho’ I no longer have it for a direct comparison, based on my previous comparisons, I think my 1992 D-55 was most similar in tone to my two 1994 DV-72s. I know the D-55 had scalloped braces, a maple bridge plate, and sound hole reinforcing plate similar to the DV-72s. However, I sold it before I started experimenting with Henkograms, so I can’t comment on the placement of top braces and tone bars.

Anyway... those are my thoughts and impressions three months in. If asked “which is better, the D-70, DV-72, or DV-73?” I’d answer, there is no “better”... they’re just “different!” I enjoy them all, and expect the D-70 will share play time with all my DVs. It’s tonal characteristics work very well with much of the music I play these days, and am eager to see how it performs in a “jam” setting (if we ever get to the stage where we can start jamming again).

@awagner, according to your signature, you also have a D-70 and multiple examples of DV-7Xs. I’d be curious to know how my observations compare with yours (or anyone elses, for that matter)?
Cheers!
 
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GGJaguar

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Nice comparison and very interesting! Can you describe the shape of the top braces? Are they tapered or straight? Flat-topped or peaked? Also, are the #3 and 4 back braces tall and thin or wide and flat? I'm wondering if these factors are relevant to the sound differences you observed.
 

HeyMikey

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Excellent post. Truly fascinating. Thank you for taking the time.

I was wondering the same thing as GG about the makeup of the braces. From the Henkograms the positioning deference’s appears subtle to my untrained eye.

My non-scientific quick look inside my NH F30’s vs Westerly A-50 show the thickness, height and tapering of braces to be signicantly different as are the general sounds. Could be the wood is different also. How does your models cost moser in that respect?
 

GardMan

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Nice comparison and very interesting! Can you describe the shape of the top braces? Are they tapered or straight? Flat-topped or peaked? Also, are the #3 and 4 back braces tall and thin or wide and flat? I'm wondering if these factors are relevant to the sound differences you observed.
My recollection is that all the top braces and tone bars in all my Guilds are what would be considered "tall and thin." I don't recall seeing any that would be "wide and flat" on the tops, tho' some of the back braces might fit into that category. I have some old photos taken inside some of the dreads that illustrate the shapes...

The braces and tone bars are all sanded to shape, in the profile of what looks like a half ellipse, as in the straight braces of my 1981 D-46 (note also the rosewood bridge plate):
120991054.jpg


My '76 D-50 would have come from the factory with braces very similar to the D-46, but a previous owner "shaved" them to give much more taper

120991050.jpg

Compare the two tone bars in front of the end block with those of the D-46. The small part of the X-braces that shows in the photo also shows evidence that they were shaved, as well (you can also see where some superglue ran thru the bridge pin hole while I was repairing the crack in the ebony bridge).

The D-70, D-55, and all of the DV-7Xs have "scalloped" bracing, as seen in this image inside the D-55:
120991053.jpg

As seen in the D-55, the middle span of the X-braces and longer tone bars are "scalloped," and the ends are a bit more "hollowed out" to a curved profile, rather than the more straight taper seen in the D-46 (the scalloping in the D-70 and the DVs is a bit "neater" than seen in the D-55... no tooling "fuzz" left on the braces in those). The scalloping on the DVs MIGHT be a little more extensive than on the D-55, but I no longer have the latter for a good comparison (and I haven't stuck a camera into the DVs or D-70 ).

Another feature I first noticed in the 92 D-55 was the two-piece end block, with the pieces oriented "cross-grain." The end blocks of all my DVs are like this, but none of the earlier models. I presume it is to help prevent splitting of the end block if the guitar is dropped on its end pin.

Also note the maple bridge plate in the D-55. All my DVs have maple plates.

Anecdotally, it appears to me that the braces and tone bars in the D-70 might be SLIGHTLY thinner and less tall than those in the DVs (I no longer have the D-55, so can't compare). But I have never tried to measure the braces with calipers... it's just too awkward maneuvering around inside thru the sound hole, and I am always afraid of dislodging a brace.
 

GGJaguar

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That is awesome info, thanks so much for the follow-up!!
 

GardMan

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From the Henkograms the positioning deference’s appears subtle to my untrained eye.
The most obvious difference is in the spacing of the tone bars in the lower bout and treble side (bottom and right of each guitar in the photos).

In the D-46, D-50, and D-70, the lowest of the treble side tone bars (above the X-brace, just below the pickguard) almost aligns with the long first (upper) tone bar of the lower bout.

In all of the DVs, the lowest treble side tone bar intersects the X brace nearly midway between the two lower bout tone bars.

To my eye, it also appears that the DV models have a somewhat smaller bridge plate... but I don't think I can be sure w/o finding a way to measure them.
 

GardMan

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Also, are the #3 and 4 back braces tall and thin or wide and flat? I'm wondering if these factors are relevant to the sound differences you observed.

Honestly, I had never looked much at the BACK braces... so just took a quick one at all six of my current Guild dreads. If the brace numbering is from the neck block to the end block,

The first and second back braces are tall and thin, maybe as tall as unscalloped top X-braces, and sanded to a somewhat half elliptical shape in all my examples.

In all of my examples between 1972-1982, #3 & #4 are wider than they are tall, and they are shorter than #1 and #2. In the 3 DV-7Xs, #3 and #4 appear to have a nearly square profile... about the same width as those in earlier models, but slightly taller. Still shorter than #1 & #2.
 

wileypickett

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Very interesting to me.

I have noticed that some of the Hoboken and early Westerly Guild 12-strings have super tall, skinny back braces, taller than on any other model Guild I've ever seen.

Was that to enhance the sound, or strengthen the back, or. . . ?
 

awagner

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@awagner, according to your signature, you also have a D-70 and multiple examples of DV-7Xs. I’d be curious to know how my observations compare with yours (or anyone elses, for that matter)?
Cheers!

I won’t even try to articulate differences between the DV guitars, but I will say generally that the D70 has a softer, deeper tone than the DVs. The DVs are louder and bolder, but not bright. Love them all.
 

davismanLV

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Great and informative post, Dave!! Having seen these before I'm still blown away by the detail and skill used to bring us this information. One thing that makes me wonder is my D65S and my DV72, both from 1994, have the soundhole reinforcement plates as do your 1994 72 and 72MK. But the 1995 73 does not. I wonder what influences decisions like that? They did that for a couple of years and then just said, "Naaaww, we're gonna go back to the braces on each side." Makes you wonder, you know?

Kind of like Glenn mentions the shape of the back braces. They did it a certain way for a while and then stopped. My Taylor has very tall and thin back braces. Not sure it that's a Taylor thing, or just the smaller models or what, but the back braces did change as Glenn said. It just makes you wonder......
 

Cougar

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A great lineup of guitars! And a very scholarly publication there, Dr. Gard! ;)
 
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