See the video review of the Guild D-40

With a lineup of classic flattop models including the F-30, F-50, F-412, and D-55 and a league of devotees that has included Nick Drake, Tim Buckley, Ralph Towner, Richie Havens, and Ryan Adams, Guild is among the most loved and respected acoustic-guitar companies. But while rightly regarded as an institution, Guild has had several homes, counting New York City; Hoboken, New Jersey; Westerly, Rhode Island; Corona, California; and Tacoma, Washington, as headquarters during its 57-year history. Late last year, Guild’s parent company, Fender Musical Instruments (who acquired the brand in 1995), announced that Guild was on the move again—this time back east to the New Hartford, Connecticut, factory that is home to Ovation production. (Fender also owns Ovation’s parent company, Kaman Music.)

Our review specimen of Guild’s stalwart D-40 dreadnought is among the first to emerge from the new facility. The quality, timeless style, and vibe that has always made Guild guitars special was evident the minute I took this guitar out of the case, and it only took a little picking and strumming to discover that the D-40’s tone and versatility are worthy of the Guild legacy.

A MAHOGANY LEGEND

The D-40 first appeared in 1963 along with the rosewood-and-spruce D-50. The two guitars were critical to Guild’s growth as it transitioned away from jazz archtops, and they were well timed to coincide with the acoustic guitar boom of the 1960s.

Except for a few noteworthy exceptions, the Connecticut-produced D-40 is faithful to the design and spirit of its 1960s forebears. It’s built around a lovely Adirondack spruce top with subtle bearclaw figuring and rich, chocolatey mahogany back and sides and finished with a flawlessly applied nitrocellulose lacquer that gives the guitar a mirror-like depth and shine. Guild’s trademark art-deco headstock—capped here with ebony—looks as sharp as a bespoke suit, sporting deco-inspired Gotoh 700 tuners, a pearl “Chesterfield” inlay (named for its similarity to the Chesterfield cigarette logo), and a pearl Guild logo that lend the guitar a distinctly American elegance. Among the changes to the original design are details such as a slightly tighter 30-foot top radius (earlier versions had a 40-foot radius), which Guild says increases the guitar’s sustain and projection, and a dual-action truss rod, rather than the older single-action type.

The three-piece neck (which has a slightly smaller heel than most older Guilds) is made from mahogany with a walnut “skunk” stripe at its center, and the rosewood bridge is cut in Guild’s signature twin-peaked shape. As on so many Guilds, there are plenty of small luxuries that make the guitar feel like some­thing more than an ordinary factory ax: black-and-white rosette with a delicate ring of tortoise; tortoise binding and heel cap; and bone nut, bridge, and bridge pins.

FAT, WARM, AND LOUD

I’ve played a lot of D-40 dreadnoughts (as well as all-mahogany D-25’s and spruce-topped D-35’s) over the years, and I’ve always loved their playability, punch, and warmth. They’re like the guitar equivalent of a 30-year-old baseball glove—supple, responsive, and ready to go. Tuning up and laying into some first-position chords, I found that this D-40 displayed much of the power and glow that I remembered in those old Guilds. Like a new baseball glove, it felt a little stiff at first, but a fresh set of strings brought the D-40 to life—making the guitar feel a little faster under the fingers and adding a little extra shimmer to its kick and warmth.

Eager to break in the D-40, I had a go at my favorite Fred Neil vehicle for fast and heavy strumming, “Looks Like Rain.” The Guild’s warmth and clarity made me feel right at home, and I was impressed with the D-40’s responsiveness and tone under both a light and heavy touch. This is a dynamic and touch-sensitive guitar—not prone to harshness or harmonic blur when you push it, as some mahogany guitars are, nor apt to lose bass or high-end when you take your foot off the gas.

My interest piqued by the D-40’s sparkly, high-mid voice, I snapped a capo onto the third fret and improvised around the chord melody to “Shady Grove.” In this context the Guild was as responsive to delicate arpeggios as muscular, staccato picking—again demonstrating a wide dynamic range that will delight flatpickers and vocal accompanists. And I couldn’t help but think how much I’d value this guitar if I played in a band that worked in a wide range of styles. This guitar has a considerable presence that would find a place in any mix.

Fingerstyle explorations, in this case, improvisations in D A D G A D and C G C G C Eb, benefited from the D-40’s impressive range, too. The lower tunings showcased the D-40’s formidable low-end sustain, color, and overtones, and a driving, uptempo original tune in D A D G A D that relies on a droning sixth string sounded orchestral thanks to the D-40’s bottom-end muscle and high-end detail. Changing strings yet again—this time switching to light-gauge strings to facilitate faster bends—made the guitar feel even livelier for fingerstyle workouts. And though it took slightly more effort to summon the same low-end thump, the guitar remained balanced, responsive, and full of character.

NO-NONSENSE STYLE, RICH TONAL PALETTE

Over the course of the month I spent with this Connecticut-bred D-40, it became an ever more-rewarding companion. Though I enjoyed the guitar’s warm, boisterous voice most when strumming with a heavy, percussive, Neil Young–style attack (especially with the sixth string dropped a step or more), the D-40 was a great companion for delicate, late-night fingerpicking sessions, where I could appreciate its sustain and rich palette of overtones. It’s also a subtly gorgeous instrument, built with all the style and attention to detail that has made Guild a favorite of no-nonsense guitarists. If this D-40 is typical of the Connecticut factory’s work, it bodes well for Guild’s continuing legacy as a guitar maker for serious players who value utility and timeless style over flash.