A top-shelf dread’ built for dueling with a D-28 offers appealing tone alternatives.
Balanced voice. Cool interplay between low and low-mid registers. Nice attention to detail.
Loud but lacks a little push in bass frequencies. “Vintage gloss” finish looks more satin than gloss.
$2,799.
Guild D-50 Standard
guildguitars.com
Selling a USA-built rosewood-and-spruce in the vicinity of $3K is cruel, nasty business. Gibson and Taylor both make enticing, attractive options in the form of the Hummingbird Studio Rosewood, Songwriter Standard, and Grand Pacific models. And anyone who dares get tangled in this cage match must face off with the most legendary rosewood-and-spruce dreadnought of all, the Martin D-28. Guild has always had a seat at this table thanks to the D-50 and D-55. Both models moved in and out of the lineup as Guild changed hands over the last few decades. Now, with Cordoba at the controls, the D-50 Standard is back in the fold.
With few exceptions, Guild D-50s and fancier D-55s have always sounded and felt distinctive to me. Like any guitar, they can vary from specimen to specimen. But the best ones have left me with vivid memories: piano-like volume, balanced and booming bass, dry, focused, harp-like midrange, and, paradoxically, guitars built tough as Victorian mansions that ring like bells. Many of these virtues are present in the new D-50. And though they don’t always show up in knock-you-over-the-noggin fashion, there is a balance and cohesion in the D-50’s tone profile that is appealing. It certainly feels like a foundation for a satisfying, long-term relationship, and offers real tone alternatives to the canonical sound of a D-28.
Utility Deluxe
I’m guessing a fair number of readers stopped dead at the sight of the D-50 photo here, because burst finishes on a big dreadnought body are super beautiful. The D-50’s prevailingly dark and amber burst is very J-45-like, which is a pretty great look to emulate. But while I’m probably in the minority, I would have loved to see the guitar in the orange-y burst I associate with Guild tops from the ’50s and ’60s,. (You can also buy the D-50 Standard with a natural finish.) Guild calls the finish used on the D-50 Standard “vintage gloss—a nitro finish which suggests gloss that’s been worn down after decades of use. To me, it looks and feels more satin than gloss, but it has a pleasing, warm glow. D-50 Standards from as recently as Guild’s New Hartford years did have a gloss finish, and you now need to leap to the fancier, more-expensive D-55 if you want gloss on a USA-built Guild dread’. That might be a bummer for some folks, but it makes the new D-50 Standards more competitively priced in a tricky market.
”The way the bassiest fundamentals and overtones intertwine with those in the low midrange gives the slighter frequencies more room to breathe.“
At the detail-level, the D-50’s construction quality rivals that of Taylor and Martin, which both tend to make near-flawless if not on-the-mark perfect instruments. The neck shape, which Guild calls a C profile, feels a little squarer at the shoulders than the D-28 I’m most intimately acquainted with, and a bit thicker than the J-45 I’m accustomed to playing, but it’s still highly playable and many guitarists will prefer the more substantial feel. It bears mentioning, too, that this D-50 Standard feels pretty light for a dreadnought. Compared to some of Guild’s hefty early ’70s D-50s, this new Standard is as light as a snowflake.
Shout and Shimmer
If you measure your dread’s worth in boom alone, the new D-50 Standard might come up short against some dreadnought standard bearers. But if the new Standard lacks a little something in pure volume and bottom-end mass, it also can sound balanced and piano-like. The way the bassiest fundamentals and overtones intertwine with those in the low midrange gives the slighter frequencies more room to breathe. This sweet interrelationship between low end and adjacent midrange spectra gives a lot of undulating overtone warmth and life to big chords in open tunings (particularly when ever-so-slightly out-of-tune strings throb against each other). It also makes the D-50 sound and feel like a killer rootsy, rock ‘n’ roll strumming machine. In the audio clip that accompanies this review, I recorded a simple, flatpicked, Stones-y sort of rhythm part, captured with a humble SM57, that I then mixed against a loud, bratty Telecaster. There’s a million ways to mix these two instruments together. But I loved the way I could push the Guild’s voice into bossy but articulate zones and emphasize it with a little preamp push and tape-style compression. Some big flattops will turn to mush in these mix images. Not so the D-50, which manages to sparkle and swing with muscle. If you play in a rootsy or garage-y rock ensemble or just love the way Keith Richards’ dreadnoughts sound on Beggars Banquet and Let It Bleed, the D-50 could be a star. And while it may sound soft compared to some dreads, it is by no means timid. The D-50 Standard is responsive to a light touch as well, thanks in part, perhaps, to the scalloped top bracing and the very vocal way you can move between loud and soft. Feathered strumming also highlights the D-50’s excellent dynamic range.
The Verdict
Guild’s newest version of the stalwart D-50 Standard carves out a unique sonic space for a dread’. The low end is restrained, but meshes beautifully with the guitar’s rich, lively midrange. While it doesn’t pack the dynamite of some dreadnoughts, like the D-28, its slightly softer but still substantial voice is even, easy to record, and makes the D-50 a fantastic rhythm machine among other things. That combination could be a winning one for the right player—even in a field of top-flight title contenders.
Guild's Best Dreadnought Is Back! The USA D-50 Standard Demo | First Look
Guild D-50 Standard Dreadnought Acoustic Guitar - Antique Burst
D-50 Std, Antique BurstDesigned to offer the ultimate Marshall Plexi emulation and fully-customizable amp-in-a-box experience.
Catalinbread's original DLS circuit has been tweaked and upgraded throughout, now featuring a phase inverter, power amp sim and output transformer as well as some new features and the most requested modifications for the original. One such addition is a toggle switch on the outside to select between Super Lead and Super Bass modes, and they've also externalized the Presence knob to easily dial in your preferred Marshall flavor.
Also added is a piece of the Dirty Little Secret—a single preamp tube simulator—as a built-in boost circuit that can be used independently of the main circuit. You can run the boost and DLS in any order you like; put the boost before the DLS for a high-powered saturated tone or after to pummel the front end of your amp. A new tightness knob lets you shave off the sub-bass for a little extra clarity or completely attenuate the low end for some cool thrash metal tones. A Line Out jack gives you a dedicated +10dB output that you can use with a mixer or DAW, and you can use both outputs simultaneously. Between the Boost, order selector and the external Super Lead/Super Bass modes, the Dirty Little Secret Deluxe is engineered to be a total performance tool that does the line justice.
Catalinbread Dirty Little Secret Deluxe
$299.99
Learn more: https://catalinbread.com/
High-end playability distinguishes an entry-level Taylor that shines, for less than 800 bucks.
Crazy playability that matches much more expensive instruments. Excellent fit and finish. Super comfortable.
Midrange can dominate in strumming situations. Expression System 2 electronics highlight midrange emphasis.
$799
Taylor 112ce-S
taylorguitars.com
There’s nothing new about Taylor building great, affordable guitars. Even instruments like the modest GS Mini always feel inviting and capable of inspired musical moments. The build-quality in these Tecate, Mexico-constructed guitars always impresses, too. But taking a spin with the new 112ce-S suggests that Taylor has reached another level of balance to go with their sense of affordable guitar craft.
The most substantial change in the newest addition to Taylor’s entry-level 100 Series is the introduction of a layered sapele back and sides, which pair nicely with solid, matte Sitka spruce tops to generate a warm, bright personality. But that combination seems to achieve a sort of ideal in the form of the 112ce-S grand concert, which manages to sparkle sonically, but also feel incredibly comfortable and impeccably playable in ways that you see in much more expensive instruments.
Made to Cradle
Regardless of your tone aspirations, it’s impossible to argue the comfort of cradling a grand concert body. Generally speaking, a grand concert is about the size of a classical body shape (which has a few centuries of refinement behind it), and it won’t feel entirely alien to a player who’s spent most of their time on the electric side of the fence. Nor will it threaten to dislocate your shoulder after a couple of hours the way a dreadnought can if you’re of smaller stature. And the way it fits more naturally against the body lends itself to more nuanced playing techniques. The 112ce-S seems to multiply all these benefits. And, at times, it genuinely feels like an extension of your own body.
The pleasure of holding the 112ce-S is enhanced even more by the excellent playability of the instrument. We’ve grown used to experiencing unsurpassable playability on Taylor’s high-end instruments—most notably that magic blend of low action and freedom from fret buzz that facilitates fast and easy fretting and navigation over the length of the fretboard. The 112ce-S couldn’t live much more squarely in that sweet spot. Intonation on our review guitar is dead on. And, remarkably, the Taylor traveled from our video team in a sweltering hot Nashville to cool, foggy Northern California and arrived almost perfectly in tune. I’m not sure exactly what Taylor does to make these instruments so stable. My tour of the company’s California plant some years back showcased a combination of CNC manufacturing and careful hands-on touches that yielded very high-quality instruments. My guess is that the Tecate plant is using the very same construction techniques to excellent effect.
Evidence of careful craftsmanship is easy to see elsewhere. Apart from a trace of errant glue spread around the kerfing, the guitar looked perfect on the inside. Outside, the guitar is pretty much flawless. The 3-piece maple neck, in particular, is a gem. It's capped with an ebony fretboard, and its lovely profile—almost a cross between a C and an oval—fills the hand and feels substantial without feeling too bulky. Expressive moves like finger vibrato feel natural and easy. And like the rest of the guitar, the neck feels conceived to eliminate playing fatigue. In concert with the low action, it makes playing for hours a breeze. The classy looking Venetian cutaway has its benefits, too. It’s easy to play a lead right up the 19th fret and hear that top note ring clear, true, and free of buzz.The Middle Ground
Grand concert bodies, in general, have benefits beyond comfort. In my experience, they tend to record exceptionally well, especially when mahogany is in the mix. They aren’t too bossy or boomy. They shimmer when recording rhythm parts, and they are even and detailed when tracking fingerstyle. The 112ce-S is capable of all these same feats, but it really excels in the fingerstyle realm. The guitar’s midrange leanings give the 3rd, 4th, and 5th strings a snappy reaction to a soft touch. The top two strings ring with a warm and chimey glow around pronounced transients. And the bottom string blooms with overtones that surround a round and robust transient attack. It’s a beautifully balanced instrument in this setting. It awakens and enlivens chord melodies that move up and down the length of the neck. It feels just as balanced and alive in capo’d settings, and requires little to no retuning as you move a capo around the neck. In stage performance terms, these attributes make the 122ce-S something of a fingerstylist’s dream.
Strumming is less flattered by the Taylor’s midrange-forward voice, though it is certainly far from brash or unpleasant. The same pretty bass response that you hear in fingerstyle settings remains evident when you take a flatpick to the 112ce-S. But the strong midrange that makes the 112ce-S feel so alive in soft fingerstyle situations does become an especially strong flavor if you hit the strings hard. The guitar sounds much prettier when you use a lighter touch and a thin flatpick. Played this way, it’s easy to hear how the 112ce-S would shine amid stacked rhythm parts on a recording or when tracking alternate, overdubbed chord voicings with a capo. Strummers with a heavy hand, or for whom that style is a foundation of their playing, may want to look elsewhere. But if strumming is just a part of your songwriting vocabulary, the 112ce-S may fit perfectly into your mixed approach.
The Verdict
For just under 800 bucks, the Taylor 112ce-S is, in most respects, a steal. And while it’s effectively an entry-level Taylor, I would have no qualms about touring or recording with this thoughtfully executed grand concert. The Expression System 2 electronics make it good-to-go for gigging, even though they benefit from careful EQ from the onboard controls or a pedal to eliminate boxiness. However you put the 112ce-S to work, though, it’s a surefire pleasure—particularly when you consider the impressive value it represents.