Mine has no serial number, the date is unclear, but it has at least 15 years. The woods are of high quality surely massive, the table is made of cedar, back and eclipses are cherry, the neck piece mahogany and rosewood fingerboard.
finishes are hand made in Canada, which gives soul to this guitar.
I can not give the purchase price because it is a long-term loan and I have no idea of that value in euros.
The strings are close to the button, it's easy to sound the note with weak support. The handle is comfortable, can be a bit flat for my taste. The small imperfections that we feel at the handle during the game, reminds us that this guitar is the work of artisans of canada and it is unique.
Mechanical keep tuning back in time, as long as the screw is tight enough agreement like two weeks with frequent play.
The sound is balanced, the sound is pleasantly bluesy. For my part I paid for the handle with an aggressive attack frieze rope a little and give this magic that can free flo blues.
piquing the finger is also very pleasing, walks were never too syrupy with this guitar.
I own this guitar for two years, this is probably my favorite. I also have a lag Tramontane T100D.
This gratt 'delight anyone who is interested in a minimum sound and feeling.
- Date of Manufacture: 1998 (first two digits of the serial number on the back of the head)
- Origin: Canada, Quebec village of La Patrie
- 22 frets, cutaway, mechanical oil bath, the nut and saddles tusc (artificial bone)
- Wood: solid cedar top, cherry wood box 3 ply, mahogany neck, walnut fingerboard and bridge
- Finish: Satin
- Nets Cash: brown mat
- The satin finish is very fine and somewhat protects the table. This is cedar - a very soft wood in contrast to the spruce - it is easy shots tends to be larger to wear at the rosette. The shield - brown mat at the time of my guitar and so shell now - is very justified (hint: do not try to take off to change: wood fibers come with).
- The "taquounes" used to hold the strings at the bridge (I draw a blank for the exact name) are made of a very bad plastic.
- The handle: The used electric guitars and Ovations will get used: it is the old profile and therefore a bit uncomfortable but not so far (in any case, the acoustic guitar has its own language and technical and do not play as a power for fear of being ridiculous). The key is large enough that the finger-pickers feel at ease. Pass without any technical problems. The action is a bit high - like all the guitars Québéquoise - but this is easily adjusted by a luthier. Added to this is the satin finish makes it a handle that does not brake hand in his movements (note: wipe it after use to avoid fatty contact after several years).
- Intonation: The nut of the bridge is compensated and the accuracy of the notes is very good.
- Access to acute: The bevel is very efficient from this point of view.
First a reminder: a new guitar does not ring. It takes time for the sound Murr. That said, we can guess how it will age. It already had a beautiful sound when I bought it.
- Versatility: From the finger-picking - because of my purchase - to slide, everything passes. Whether you play gently or hard, the instrument follows. A powerful play goes, in a subtle nuance too.
- Type: It is medium and heavily wooded. Comparing with Martin 18 series, there is a certain resemblance despite the typed cedar of Simon and Patrick is also available with a spruce top. The notes are warm, accurate and can go after the brilliant attack, nothing to do with the Takamine EN10 and its sparse and flat. The sound is powerful and balanced even if we sometimes regret that the highs are a little dull. I also note a slight compression (as used string) when playing "strong", which is very musical and very usable.
- This guitar was designed to provide the best possible sound for its price. Species selection, fine satin varnish and material of the frets go in that direction. I bought this guitar new in December 2000 - six years ago - and its construction irréprochage allowed the sound of Murray and improve.
- Strings to use: If possible, avoid the ropes Martin scrap. Prefer them strings D'Addario phosphor type, or Adamas Thomastic-Infeld (my choice), especially if you play electro (normal bronze strings go wrong with the sound of a piezo) or as the D'Addario base.
- You will have a different sound depending on the essence of the table. The cedar gives a very warm and soft and spruce something more crystal-clear (this wood Murri slower). Today I would choose a spruce top for taste.
- Having purchased purely acoustic, I have long been used with various Shadow magnetic pickups (humbucker models are to forget) and a piezo liabilities of the same brand (apart quickly because I was losing her) and finally raise a piezo Fishman preamp Powerjack (without EQ). This solution gives me full satisfaction: its just as accurate as the piezo to be a good little EQ on the amp (Torque electro virtually unknown but very good) and no horrible equalizer on the splint at home Cacamine . A rule: always use phosphor-bronze strings!
- Operating time: 6 years.
- My favorite: The balance between aesthetics and sound both natural versatility and volume.
- I tried the guitar for 6 months before being captured immediately by the guitar: Takamine (EN10 I quickly understood that rested), Yamaha, Epiphone ... Only other trademarks Québéquoise (they all belong to the group Godin) could compete: Seagull, Norman and Art & Lutherie (less good for the latter, but also lower prices). It costs more to have a real competition. I am now a fierce partisans of the group of guitars Godin (Simon and Patrick are the son of Robert Godin, who had apprenticed with Norman: everything comes together!).
- Value / Price: incomparably at the time. The Guild made in Asia and the Valley and Blues guitars can now be their shadow.