Some Guild Artist Award through the years info

[Navigator]

I have owned 2 one from the early 70's Sunburst and a 1990 Blond. Both good guitars the Sunburst had a better acoustic sound but not by huge margin. On the whole they are as good of a guitar for jazz as you can get however, speaking purely from acoustic response and performance they have underwhelmed me. Never heard one that I though was loud but the Benedetto ones might have been I just have not played more than 1 or 2 of them.

I will take an L5c over an AA all things being even for sure but naturally you have to play the guitar to see where it sits. I will take a Heritage Golden Eagle over an AA even though they don't draw as much value. I am speaking strictly of acoustic sound when I make this comparison. Most AA I have played have good necks and play well mine both did if fact the blond one had a better neck of the 2. It does appear some are 1 5/8's neck and I would not want one of them but otherwise nice. The ones made when Bob B. was doing his oversight or design might be better over all but not necessarily. For what it is worth a Guild x500 is a nice guitar too, but it is not in any way a Gibson L5ces and does not pretend to be, but I throw that out for thought.

Here is what I see. AA out in the market lets say at $6200, or an equivalent L5 at $8500-9000. What do you want? For playing jazz they both will work fine so the choice is playability and cost. However, when you go to sell which, guitar do you want to put on the market and expect it to sell faster and do better job. Not necessarily that you made money at all, but which one might you take the bigger loss.

I don't have an answer for everyone, but I take the L5 at least in this comparison.

A totally logical position, great review

[andrew]

…For what it is worth a Guild x500 is a nice guitar too, but it is not in any way a Gibson L5ces and does not pretend to be, but I throw that out for thought.

An X-500 versus an ES-350 or Tal Farlow would be a more apples-to-apples comparison.

[Stringswinger]

I have owned 2 one from the early 70's Sunburst and a 1990 Blond. Both good guitars the Sunburst had a better acoustic sound but not by huge margin. On the whole they are as good of a guitar for jazz as you can get however, speaking purely from acoustic response and performance they have underwhelmed me. Never heard one that I though was loud but the Benedetto ones might have been I just have not played more than 1 or 2 of them.

I will take an L5c over an AA all things being even for sure but naturally you have to play the guitar to see where it sits. I will take a Heritage Golden Eagle over an AA even though they don't draw as much value. I am speaking strictly of acoustic sound when I make this comparison. Most AA I have played have good necks and play well mine both did if fact the blond one had a better neck of the 2. It does appear some are 1 5/8's neck and I would not want one of them but otherwise nice. The ones made when Bob B. was doing his oversight or design might be better over all but not necessarily. For what it is worth a Guild x500 is a nice guitar too, but it is not in any way a Gibson L5ces and does not pretend to be, but I throw that out for thought.

Here is what I see. AA out in the market lets say at $6200, or an equivalent L5 at $8500-9000. What do you want? For playing jazz they both will work fine so the choice is playability and cost. However, when you go to sell which, guitar do you want to put on the market and expect it to sell faster and do better job. Not necessarily that you made money at all, but which one might you take the bigger loss.

I don't have an answer for everyone, but I take the L5 at least in this comparison.

+1

My 71 Guild AA had a fine acoustic voice and other than the 1 5/8 nut, I loved it (and I still regret letting it go). I had 2 Benedetto Artest Awards (both made in Westerly). One had a good acoustic voice and the other was a disappointing guitar in several ways (which I won't go into here). Both of those guitars had the 25 5/8 scale which with the 13's I was using at the time, made the action too stiff for me. I loved the DeArmond 1100 on my 71 and I did not like the Benedetto pickup on the other two (I thought it sounded unbalanced).

Today I own 4 acoustic archtops and all have a great acoustic voice and scale lengths (24 3/4 -25 3/8) that work well for me. Three were made by the capo di tutti capos of the archtop guitar, John D'Angelico. The 4th (A Licensed New Yorker replica) was made by three former Gibson builders (JP Moats, Aaron Cowles and Marvin Lamb) with some help from Ron DeMarino and Chris Mirabella. I am pretty set for acoustic archtops, but if I did want another one, a Gibson L-5C would be at the top of my list.

[Stringswinger]

An X-500 versus an ES-350 or Tal Farlow would be a more apples-to-apples comparison.

The Guild Benedetto X-700 would be the right comparison to an L-5CES

[deacon Mark]

+1

My 71 Guild AA had a fine acoustic voice and other than the 1 5/8 nut, I loved it (and I still regret letting it go). I had 2 Benedetto Artest Awards (both made in Westerly). One had a good acoustic voice and the other was a disappointing guitar in several ways (which I won't go into here). Both of those guitars had the 25 5/8 scale which with the 13's I was using at the time, made the action too stiff for me. I loved the DeArmond 1100 on my 71 and I did not like the Benedetto pickup on the other two (I thought it sounded unbalanced).

Today I own 4 acoustic archtops and all have a great acoustic voice and scale lengths (24 3/4 -25 3/8) that work well for me. Three were made by the capo di tutti capos of the archtop guitar, John D'Angelico. The 4th (A Licensed New Yorker replica) was made by three former Gibson builders (JP Moats, Aaron Cowles and Marvin Lamb) with some help from Ron DeMarino and Chris Mirabella. I am pretty set for acoustic archtops, but if I did want another one, a Gibson L-5C would be at the top of my list.

I have one of those Heritage Ghost built New Yorkers like SS. While it is an 18-inch guitar I can assure you that I have never played any Guild guitar that can touch it for sound and playability.

[213Cobra]

I know this has been covered plenty in the past, but what are everyone’s thoughts on the Artist Award? I’ve never played one, but I’ve always been curious. I’ve heard that they are great electric guitars but they don’t have much of an acoustic voice.

My ghost-label X-500 is one of my all time favorite guitars, so I know how good a Guild can be.

I don't know where the sentiment comes from that AA's "...don't have much of an acoustic voice." I have three Guild AAs, and owned a fourth one in the past. Here they are:



Left-to-Right -- 1994 Westerly Artist Award, 1999 Guild-Benedetto AA (Corona), 2006 Guild-Benedetto JSA (Corona).

They are electric guitars in that they have floating pickups instead of mics or piezo p'ups. But they are first and foremost designed and carved to be acoustic instruments. Put another way, the design and build of Artist Awards was not altered from its acoustic potential to accommodate the floating pickup. I bought the '94 first and new in 1994, and evaluated it for purchase on its acoustic qualities alone. It was a no-brainer in an archtop, though it's acoustic voice differs from a Gibson L-5, equivalent Epiphone or anything else. This guitar is touch-sensitive, has excellent acoustic dynamic range. It's responsive, woody and tonally beautiful with classic midrange emphasis.

The 1999 represents Bob Benedetto's redesign of the Artist Award. Since I'm insensitive to reasonable differences in scale length, the feel of the '99 is subtly different from the 1994, and if anything it is the most subdued of the three, despite a bit thinner top carve. It's not dead by any means, but it has more even top-to-bottom response that has less specific spectral emphasis. It sounds resonant and responsive but less "exciting" than the '94. It's smooth but to me still sounds closer to Guild than Benedetto. The 2006 JSA is the most different of the three. Again, owing to concessions to Johnny Smith there are some slight dimensional differences but it is easily the brightest and loudest of the three. It has more chime than any L-5 I've heard or played, and surprising archtop bass response. It's a clean, incisive sound just like Johnny's with his amps and produces those same qualities acoustically. I suppose it sounds much closer to a Benedetto than to the old AA, as well as similar sonic distance from an L-5. Unsurprisingly, the Gibson that sounds by far closest to the G-B JSA is my '94 LeGrand, the Gibby JSA successor. Those are (fraternal twin) brothers from different mothers.

For context, I have a Gibson L-5CT Acoustic from 2001. It's a wonderful acoustic archtop, 17", loud and projecting. I love it but it's not quite as touch-sensitive as the Guilds are. They are different voices but so is the LeGrand v. L-5CT. Guild build quality and craftsmanship for AAs of any era is nothing to worry about.

Comparing my acoustic archtops that have floating pickups, as electric guitars, isn't worthwhile to me. DeArmond, BJB, Guild 90s HB, Benedetto all also have distinctive voices that aren't determined much by the guitars. Pickups can be changed, but I am always happy to have a selection of voices acoustically & electrically. My AAs get played acoustically 90% of their playing time.

Phil

[Navigator]

I have one of those Heritage Ghost built New Yorkers like SS. While it is an 18-inch guitar I can assure you that I have never played any Guild guitar that can touch it for sound and playability.

I've never liked a heritage, great alternative to a Gibson but just didn't quite have the sound on the gig for me, I much prefer a Guild (or a Triggs built Gibson for example). Also the AA has an established hallmark sound and tone as does Gibson the old Epiphones, DAs, Stromberg's etc. Heritage lacks that imo.

[Navigator]

I don't know where the sentiment comes from that AA's "...don't have much of an acoustic voice." I have three Guild AAs, and owned a fourth one in the past. Here they are:



Left-to-Right -- 1994 Westerly Artist Award, 1999 Guild-Benedetto AA (Corona), 2006 Guild-Benedetto JSA (Corona).

They are electric guitars in that they have floating pickups instead of mics or piezo p'ups. But they are first and foremost designed and carved to be acoustic instruments. Put another way, the design and build of Artist Awards was not altered from its acoustic potential to accommodate the floating pickup. I bought the '94 first and new in 1994, and evaluated it for purchase on its acoustic qualities alone. It was a no-brainer in an archtop, though it's acoustic voice differs from a Gibson L-5, equivalent Epiphone or anything else. This guitar is touch-sensitive, has excellent acoustic dynamic range. It's responsive, woody and tonally beautiful with classic midrange emphasis.

The 1999 represents Bob Benedetto's redesign of the Artist Award. Since I'm insensitive to reasonable differences in scale length, the feel of the '99 is subtly different from the 1994, and if anything it is the most subdued of the three, despite a bit thinner top carve. It's not dead by any means, but it has more even top-to-bottom response that has less specific spectral emphasis. It sounds resonant and responsive but less "exciting" than the '94. It's smooth but to me still sounds closer to Guild than Benedetto. The 2006 JSA is the most different of the three. Again, owing to concessions to Johnny Smith there are some slight dimensional differences but it is easily the brightest and loudest of the three. It has more chime than any L-5 I've heard or played, and surprising archtop bass response. It's a clean, incisive sound just like Johnny's with his amps and produces those same qualities acoustically. I suppose it sounds much closer to a Benedetto than to the old AA, as well as similar sonic distance from an L-5. Unsurprisingly, the Gibson that sounds by far closest to the G-B JSA is my '94 LeGrand, the Gibby JSA successor. Those are (fraternal twin) brothers from different mothers.

For context, I have a Gibson L-5CT Acoustic from 2001. It's a wonderful acoustic archtop, 17", loud and projecting. I love it but it's not quite as touch-sensitive as the Guilds are. They are different voices but so is the LeGrand v. L-5CT. Guild build quality and craftsmanship for AAs of any era is nothing to worry about.

Comparing my acoustic archtops that have floating pickups, as electric guitars, isn't worthwhile to me. DeArmond, BJB, Guild 90s HB, Benedetto all also have distinctive voices that aren't determined much by the guitars. Pickups can be changed, but I am always happy to have a selection of voices acoustically & electrically. My AAs get played acoustically 90% of their playing time.

Phil

Amen....the voice of reason!

I mean I think everyone has their favourite guitars, it's what ever works for you and your fingers. For me the AA is works perfectly for what I do and I can't think of a better guitar.

[Archie]

Can't blame you, I knew it was a 2nd but that's one of the worst I've seen. The heel cap is covering up a lot viewed from the back. Personally I'd pass altogether, somebody will buy it at some price eventually but probably why it hasn't sold yet.

Sage advice.

All I need it for is 3D scanning and reverse engineering. As long as the body/carved plates are good and the neck (aside from the heal) is good, then I will get access to all the data I need, but I don’t think they're going to, or need to, be very accommodating. As you said, someone will buy it.

The worst thing for me would be one that has been refinished, as that could effect the plate contour. Not that Gibsons plates are consistent, with their use of pad sanders.

[Archie]

An X-500 versus an ES-350 or Tal Farlow would be a more apples-to-apples comparison.

I think the 350 has a 25’5 but an X500 to Tal Farlow is fair. For me the X500 would be my preferred choice because I like the way Guilds play. I think Guilds and Ibanez play very similar in that they play themselves.


I’ve had all the Awards, an L5CES and played a few Gibson L5C’s.

My takeaway is that the Guild AA is a marginally superior built instrument to the Gibson L5C but I’m happy for that view to be eagerly contested.
On average I would imagine the Gibson has a warmer acoustic sound due to the over bracing, thus making the AA slightly more dynamic and richer.
In that regard the L5C is an acoustic version of the L5CES, where the AA is an acoustic instrument in its own right.
I know that there is a discrepancy in my logic as the L5C came before the L5CES but I think both models were redesigned in the 50’s to be more feedback resistant and i think the L5C also had the over bracing, applied to the L5CES (will look into it).
Either way, I’m sure there’s more variation within each model than between them (L5C/AA).

The original Award is imo a different instrument. I think Johnny wanted a subdued acoustic sound rather than a primarily acoustic instrument. He wanted the guitar to look like an acoustic but sound more like what went on to be the Gibson JS.

One thing I found interesting on the AA’s compared tho the original Award (Johnny Smith) is that the back plate carving of the AA, is almost exactly the same as the top plate carving of the Johnny Smith. Very bulbous in the middle with a somewhat wide, flat outer permitter (see last pic).

[Stringswinger]

I've never liked a heritage, great alternative to a Gibson but just didn't quite have the sound on the gig for me, I much prefer a Guild (or a Triggs built Gibson for example). Also the AA has an established hallmark sound and tone as does Gibson the old Epiphones, DAs, Stromberg's etc. Heritage lacks that imo.

The D'Angelico II series of D'Angelico replicas were a short-lived enterprise of New York based CPA/Guitar collector/dealer named Marty Turman in the early 1990's. The enterprise made 40 guitars in total (according to Mr. Turman). The concept was to have top notch former Gibson craftsmen build the guitars and have the finish/setup work done by Ron DeMarino, a personal friend of John D'Angelico (Ron also happened to be John Lennon's guitar tech). Jim Triggs built the first three, but production was too slow and two of the Heritage owners (JP Moats and Marv Lamb) along with Aaron Cowles were hired to build the rest (all three, like Triggs were former Gibson archtop builders). These replicas made by the Heritage guys, do not sound like any Heritage archtop that I have ever played. IMO, they have a "Gibson voice" which is exactly what Mr. Turman was after.

I do think that the Heritage guys wanted a "Heritage voice" with the guitars that had the Heritage name on the headstock. I also think that each builder brings something different to the table. Regarding Guilds, my 71 AA was built by Carlo Greco. My Westerly built Benedetto AA's were built by different luthiers than Phil's Corona built guitars (and use different nitro blends for the finish), as none of the luthiers at Guild's Westerly factory took up Fender's offer of a job in Corona. While I do not own any Heritage guitars per se, I have played some that were great sounding and playing. If I was looking to purchase an archtop guitar, Heritage would be a contender, but I have 11 archtops and I do not think I will be buying any more. My needs are more than met (I have six Gibsons, three genuine D'Angelicos, a Campellone and the New Yorker replica).

[SierraTango]

The D'Angelico II series of D'Angelico replicas were a short-lived enterprise of New York based CPA/Guitar collector/dealer named Marty Turman in the early 1990's. The enterprise made 40 guitars in total (according to Mr. Turman). The concept was to have top notch former Gibson craftsmen build the guitars and have the finish/setup work done by Ron DeMarino, a personal friend of John D'Angelico (Ron also happened to be John Lennon's guitar tech). Jim Triggs built the first three, but production was too slow and two of the Heritage owners (JP Moats and Marv Lamb) along with Aaron Cowles were hired to build the rest (all three, like Triggs were former Gibson archtop builders). These replicas made by the Heritage guys, do not sound like any Heritage archtop that I have ever played. IMO, they have a "Gibson voice" which is exactly what Mr. Turman was after.

I do think that the Heritage guys wanted a "Heritage voice" with the guitars that had the Heritage name on the headstock. I also think that each builder brings something different to the table. Regarding Guilds, my 71 AA was built by Carlo Greco. My Westerly built Benedetto AA's were built by different luthiers than Phil's Corona built guitars (and use different nitro blends for the finish), as none of the luthiers at Guild's Westerly factory took up Fender's offer of a job in Corona. While I do not own any Heritage guitars per se, I have played some that were great sounding and playing. If I was looking to purchase an archtop guitar, Heritage would be a contender, but I have 11 archtops and I do not think I will be buying any more. My needs are more than met (I have six Gibsons, three genuine D'Angelicos, a Campellone and the New Yorker replica).

I owned a Heritage GE I bought new from Jay Wolfe in the mid-90's. I liked it very much and gigged with it for a while. It had a upgraded pickup from the factory but I can't remember the model or name of it. Sounded great and played great through my Polytone.

After I sold it, I bought a 92 AA and gigged with that. I liked the AA more than the Heritage. I sold the AA to help fund my current working guitar, a 1990 Benedetto Cremona. I had both the AA and Cremona for a short period and the Benedetto was the superior instrument for me.

SS, your history is spot on, I'd like to add that there was a few DA's built by Art Valdez in Hollywood in the 80's. I was a customer of Art's and remember him having the plans taped up above his workbench. I played one of the first ones he built and to be honest, it was beautiful work but not in the same league as the real thing. However, that's not a fair playing field as the Valdez was brand new and not played in.

My Benedetto at work...

[Stringswinger]

I owned a Heritage GE I bought new from Jay Wolfe in the mid-90's. I liked it very much and gigged with it for a while. It had a upgraded pickup from the factory but I can't remember the model or name of it. Sounded great and played great through my Polytone.

After I sold it, I bought a 92 AA and gigged with that. I liked the AA more than the Heritage. I sold the AA to help fund my current working guitar, a 1990 Benedetto Cremona. I had both the AA and Cremona for a short period and the Benedetto was the superior instrument for me.

SS, your history is spot on, I'd like to add that there was a few DA's built by Art Valdez in Hollywood in the 80's. I was a customer of Art's and remember him having the plans taped up above his workbench. I played one of the first ones he built and to be honest, it was beautiful work but not in the same league as the real thing. However, that's not a fair playing field as the Valdez was brand new and not played in.

My Benedetto at work...

ST, at the same time that Marty Turman did his D'Angelico II venture, GHS strings licensed the D'Angelico name (which they had owned for many years) for some replicas. During the period that they did this, the replicas were built by Art Valdez and later by Michael Lewis. Michael Lewis told me that he had to give GHS $3000 per guitar and could set whatever price he wanted. I presume that Art Valdez had a similar deal. GHS sold the D'Angelico name to the Ferolito (Arizona Ice Tea) family and while they have mostly had/have a business model based on Asian Imports, they have continued to allow licensed USA made, hand built replicas to be made. They used Gene Baker and Victor Baker (no relation) in the past and AFAIK, at present are using Ric McCurdy to make those guitars. I have no idea what the Ferolito arrangements have been regarding these later replicas.

FYI: Arturo Valdez built the first DA Replica in 1991.

[Navigator]

I owned a Heritage GE I bought new from Jay Wolfe in the mid-90's. I liked it very much and gigged with it for a while. It had a upgraded pickup from the factory but I can't remember the model or name of it. Sounded great and played great through my Polytone.

After I sold it, I bought a 92 AA and gigged with that. I liked the AA more than the Heritage. I sold the AA to help fund my current working guitar, a 1990 Benedetto Cremona. I had both the AA and Cremona for a short period and the Benedetto was the superior instrument for me.

SS, your history is spot on, I'd like to add that there was a few DA's built by Art Valdez in Hollywood in the 80's. I was a customer of Art's and remember him having the plans taped up above his workbench. I played one of the first ones he built and to be honest, it was beautiful work but not in the same league as the real thing. However, that's not a fair playing field as the Valdez was brand new and not played in.

My Benedetto at work...

Nice, any pics with you and the AA?

[SierraTango]

Thanks for the timeframe, SS. Like many of us nearing 70 years old, the 80's/90's are somewhat of a blur. To make matters worse, I had moved from Hollywood to Oriental, NC as I became partners in a Yacht Basin there in 89. I was flying back to LA quite a bit to see family, and was homesick for Greenblatt's Deli and real Mexican food.

I wanted to add that Art made a few copies from the same plans and put "Valdez" in place of D'Angelico on the headstock. They were less fancy and he was asking 10K for them. I played a few and in all due respect (I'm pretty sure Art passed away) they were just OK. Art's forte was Flamenco guitars. I saw later that one of these was sold for $800 at the Tucson GC.

[SierraTango]

Nice, any pics with you and the AA?

Thanks! All the photos of the AA are gone. It was a 92 Blond.

[Navigator]

[QUOTE=SierraTango;1446570]Thanks! All the photos of the AA are gone. It was a 92 Blond.[/

well it's great to you liked the AA and was gigging it.

[58flame]

Thanks Wintermoon.

I've been in negotiations with Gryphon on that. It’s got a pretty nasty neck join and is a ’Second’. I was going to buy it yesterday but on receiving more pictures of the neck area, I’ve made a lower offer. I doubt they’ll take it but I’d rather pay 1-2K more for a better example.

Here’s the pic they don't show in the add.

Attachment 128852

They really should show that.

[deacon Mark]

Most all of the Dangelico replicas I have seen for sale made by Gene Baker have had top cracks. I have kept track on Reverb and other places to be sure it was not the same guitar and it was not. I have seen at least 3 for sale in the past few years all different but all had repair top cracks, but no actual wear. That tells me something was maybe not right in the carving and bracing process.

[deacon Mark]

I don't know where the sentiment comes from that AA's "...don't have much of an acoustic voice." I have three Guild AAs, and owned a fourth one in the past. Here they are:



Left-to-Right -- 1994 Westerly Artist Award, 1999 Guild-Benedetto AA (Corona), 2006 Guild-Benedetto JSA (Corona).

They are electric guitars in that they have floating pickups instead of mics or piezo p'ups. But they are first and foremost designed and carved to be acoustic instruments. Put another way, the design and build of Artist Awards was not altered from its acoustic potential to accommodate the floating pickup. I bought the '94 first and new in 1994, and evaluated it for purchase on its acoustic qualities alone. It was a no-brainer in an archtop, though it's acoustic voice differs from a Gibson L-5, equivalent Epiphone or anything else. This guitar is touch-sensitive, has excellent acoustic dynamic range. It's responsive, woody and tonally beautiful with classic midrange emphasis.

The 1999 represents Bob Benedetto's redesign of the Artist Award. Since I'm insensitive to reasonable differences in scale length, the feel of the '99 is subtly different from the 1994, and if anything it is the most subdued of the three, despite a bit thinner top carve. It's not dead by any means, but it has more even top-to-bottom response that has less specific spectral emphasis. It sounds resonant and responsive but less "exciting" than the '94. It's smooth but to me still sounds closer to Guild than Benedetto. The 2006 JSA is the most different of the three. Again, owing to concessions to Johnny Smith there are some slight dimensional differences but it is easily the brightest and loudest of the three. It has more chime than any L-5 I've heard or played, and surprising archtop bass response. It's a clean, incisive sound just like Johnny's with his amps and produces those same qualities acoustically. I suppose it sounds much closer to a Benedetto than to the old AA, as well as similar sonic distance from an L-5. Unsurprisingly, the Gibson that sounds by far closest to the G-B JSA is my '94 LeGrand, the Gibby JSA successor. Those are (fraternal twin) brothers from different mothers.

For context, I have a Gibson L-5CT Acoustic from 2001. It's a wonderful acoustic archtop, 17", loud and projecting. I love it but it's not quite as touch-sensitive as the Guilds are. They are different voices but so is the LeGrand v. L-5CT. Guild build quality and craftsmanship for AAs of any era is nothing to worry about.

Comparing my acoustic archtops that have floating pickups, as electric guitars, isn't worthwhile to me. DeArmond, BJB, Guild 90s HB, Benedetto all also have distinctive voices that aren't determined much by the guitars. Pickups can be changed, but I am always happy to have a selection of voices acoustically & electrically. My AAs get played acoustically 90% of their playing time.

Phil

Looking at those 3 blonds is amazing. I have to say just in appearance I like the Benedetto JS blond the best for sure. Wood looks a little nice and the blond a bit warmer not so clear blond.

[213Cobra]

Most all of the Dangelico replicas I have seen for sale made by Gene Baker have had top cracks. I have kept track on Reverb and other places to be sure it was not the same guitar and it was not. I have seen at least 3 for sale in the past few years all different but all had repair top cracks, but no actual wear. That tells me something was maybe not right in the carving and bracing process.

I've seen both cracked and not-cracked. It isn't structural. It seems some of the spruce supply for that project wasn't fully dried/cured. If cracked, they generally develop a slight separation at the center seam of the top, under the tailpiece, and it may extend a little further toward the bridge. Unrepaired, the guitars still sound good. I have one of Gene Baker's Premier Builders Guild 1942 Excel reproductions. It has the top crack repaired by a luthier. Bracing is sound. All the build workmanship is exceptional. My guitar is responsive, acoustically bursty, with beautiful bass, tone-dense midrange and more top end than a typical L-5 Acoustic. It has a Lollar floater, and a fantastic (for me), robust neck. The filled-and glued crack is just a scar, and it's not like there aren't a lot of top-cracked archtops out there. The great thing is the existence of the tailpiece-area top-seam crack, repaired or not, takes several thousand dollars off the value compared to a pristine sample, yet the guitar is equally outstanding to play and hear.

I've seen one or two where the top crack extends under and a bit above the bridge. Mine stops before the bridge, and since its repair, has been stable. They aren't plentiful, but if you encounter one with a crack, it's easily serviceable by a luthier and you can end up with a seriously good value in an acoustic / floater archtop. I played a real 1942 Excel a few decades ago. I won't say this PBG-built replica sounds exactly the same, but it sounds to me in the D'Angelico realm and certainly not voiced as a Gibson.

Phil

[213Cobra]

Looking at those 3 blonds is amazing. I have to say just in appearance I like the Benedetto JS blond the best for sure. Wood looks a little nice and the blond a bit warmer not so clear blond.

The 1994 AA seemed to have zero lacquer tint when new. Its aging has been slow to warm over the past 32 years, but the spruce is noticeably warmer looking. BTW, that's just like a 1974 Guild D44M flattop I bought new, where the spruce top is far more "tanned" than new, but the maple sides and back are nearly as "white" as the day I bought them. Maybe a Westerly thing. The 1999 has a visible touch of vintage-tinting in the lacquer. The 2006 JSA is decidedly honey-tinted in a classic Benedetto tone.

Phil

[Bob_Ross]

what are everyone’s thoughts on the Artist Award?

I've only ever played one Guild Artist Award -- it was a 1977 or '78 model, brand new, in a music store in Boston MA, where they had to pull it out of a locked glass display case so I could play it.

...but the experience has stayed with me for the ~45 years since. An Artist Award like that one is on my Some Day I Must Own One list!


======================

I recently commented in another thread here about how impressive the sound of Mary Halvorson's Artist Award was in a live recording I stumbled across. She was playing through an amp, but the guitar was also close-mic'd. Really fabulous tone, but also rather unique.

[Navigator]

I hope one day your dream is realised! AA's are part of Jazz history.

[Navigator]

Here's my AA from 1994: