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CT-64140 « Kingpin II: more versatile than the Kingpin I »
Published on 02/01/13 at 08:59Made in Canada
Adjustable Tusq Bridge by Graphtech
Table: Canadian Wild Cherry
Back & Sides: Canadian Wild Cherry
Neck: Silver leaf maple
Fingerboard: Rosewood
Scale: 24.84 "(63 cm)
Micro: 2x Godin Kingpin P90 single-coil pickups
1x Volume, 1x Tone
1 selector: neck / neck + bridge / bridge
UTILIZATION
The handle is very nice on geometry. I found him one drawback which is repeated on my other two Godin electric. This is due to a specific treatment of wood? I do not know. The strings are very sensitive to oxidation and neck (including the back) lost after a few moments game its "slippery". We can certainly blame my sweating, but I have other guitars (Duesenberg, Hagström, Gitano) which, with (regarding electrical) the same strings (and my own hands!) Do not exhibit this phenomenon. A retailer Godin me also of himself (although I mentioned the issue with him) mentioned the thing. I avoid my side but Fastfret regularly cleans the strings with product maintenance for Strings Gibson Luthers Choice (sometimes with Dunlop 65 String Cleaner, which unfortunately feels the penetrating oil with molybdenum used in mechanics!) And the default is diminished.
The cutaway allows (in my opinion) access to the acute part of the handle quite easily. However, my game does not really carrying me to go to navigate, this opinion may not be very significant.
Surprisingly light on the door very easily with a strap long hours and I think its nice shape to play seated.
Regarding getting a good sound: on branch (on a good tube amp preferably) and it sounds now! Two microphones, a volume knob and a tone plus a three-position selector. I'll come back later.
Note: I put 8/10 ("very good) and not 9/10 (" excellent "simply because of the propensity of the instrument oxidation of strings)
SOUNDS
I enjoy playing jazz, blues, jazz-rock and a little rock on this guitar. I mounted with Thomastick JS 111. I tried to mount Thomastick BB111 (round thread): the brightness of the strings combined with the warm sound of P90 and cash let me guess the beauty and variety of sounds that could be obtained.
In POWER, I played on a Palmer Fat Combo 50 and a Laney Cube 12R. Excellent on both amps.
Overall, there is a beautiful combination of wood roundness and warmth of P90.
Handle on the P90: same with the Kingpin I, clear sound seems obviously beautiful, very typical "swing" or "bebop" (listen to Barney Kessel records with Charlie Parker) If you push a little gain, we gets a nice crunch sound reminiscent giving quite the sound of the Gibson ES300 saturated in bebop recordings of Django Reinhardt.
P90 on the bridge: the sound is obviously a little more "sour" with the P90 of the handle. Beautiful sounds are learned for the blues to rock a little vintage and probably the rockabily (but not loving at all like this, I may not be very well placed to speak)
With one volume knob and one tone knob, the possibilities of mixing of the two microphones are obviously less extensive than those guitars with a volume control and a tone micro. And as the <Kingpin I, le knob de tonalité gagnerait à être un peu plus progressif. Mais, je m'y suis bien fait. Quand on directement a un bon son sur chaque micro (et c'est le cas ici !), je crois qu'on ne ressent pas le besoin de se casser la tête à chercher au millième de millimètre le bon mixage ! Et puis souvent, sur scène, on a besoin que ça joue sans trop chercher à peaufiner !
I am careful about what I say in the next few lines. With these strings (JS111), my amp and considering my style of play, I found that the Kingpin II behaves well with effects pedals and overdrive the amp. However, this guitar does not seem suitable for "big sound." But I remain cautious because I'm not used to using this kind of sounds: first because of my game, and then because I have a Mustang Floor which, in the field of "big sound" does not seem famous . On the other hand (still caution on my part ...) the "big sound" seems to require the guitar long sustain natural, it has not, like other hollowbody. However, a compromise can probably be found by a judicious choice of strings.
Failure of the guitar (seems inherent Does all P90 "classic"): 1) the feedback comes quickly to medium or high volume, 2) the microphone is very sensitive to magnetic fields and the amp it hums quite easily - to avoid these snoring just find ideal orientation and distance relative to the amp.
In ACOUSTIC mounted with bolts 11 threaded flat action set as close as possible to the button, it does not obviously planned as an acoustic guitar. But the sound does not seem unpleasant. Its true aficionados of true acoustic guitar could, I think, not be totally satisfied. But this guitar is not, in any case made for it.
OVERALL OPINION
I have this Kingpin II for almost 8 months. I made the purchase on a heart stroke, after being excited by the Kingpin I searching for a wider sonic palette. And I do not regret this purchase. I'm still as much fun playing it and I think I will not tire of its sound.
For those who want a guitar that sails well between jazz, jazz-rock, rock a little vintage, blues, pop music "classic", this Kingpin II seems to be a very good choice! And those who wear it on stage will enjoy its ease: it plays on! it is fine tuned and is very light to wear.
Adjustable Tusq Bridge by Graphtech
Table: Canadian Wild Cherry
Back & Sides: Canadian Wild Cherry
Neck: Silver leaf maple
Fingerboard: Rosewood
Scale: 24.84 "(63 cm)
Micro: 2x Godin Kingpin P90 single-coil pickups
1x Volume, 1x Tone
1 selector: neck / neck + bridge / bridge
UTILIZATION
The handle is very nice on geometry. I found him one drawback which is repeated on my other two Godin electric. This is due to a specific treatment of wood? I do not know. The strings are very sensitive to oxidation and neck (including the back) lost after a few moments game its "slippery". We can certainly blame my sweating, but I have other guitars (Duesenberg, Hagström, Gitano) which, with (regarding electrical) the same strings (and my own hands!) Do not exhibit this phenomenon. A retailer Godin me also of himself (although I mentioned the issue with him) mentioned the thing. I avoid my side but Fastfret regularly cleans the strings with product maintenance for Strings Gibson Luthers Choice (sometimes with Dunlop 65 String Cleaner, which unfortunately feels the penetrating oil with molybdenum used in mechanics!) And the default is diminished.
The cutaway allows (in my opinion) access to the acute part of the handle quite easily. However, my game does not really carrying me to go to navigate, this opinion may not be very significant.
Surprisingly light on the door very easily with a strap long hours and I think its nice shape to play seated.
Regarding getting a good sound: on branch (on a good tube amp preferably) and it sounds now! Two microphones, a volume knob and a tone plus a three-position selector. I'll come back later.
Note: I put 8/10 ("very good) and not 9/10 (" excellent "simply because of the propensity of the instrument oxidation of strings)
SOUNDS
I enjoy playing jazz, blues, jazz-rock and a little rock on this guitar. I mounted with Thomastick JS 111. I tried to mount Thomastick BB111 (round thread): the brightness of the strings combined with the warm sound of P90 and cash let me guess the beauty and variety of sounds that could be obtained.
In POWER, I played on a Palmer Fat Combo 50 and a Laney Cube 12R. Excellent on both amps.
Overall, there is a beautiful combination of wood roundness and warmth of P90.
Handle on the P90: same with the Kingpin I, clear sound seems obviously beautiful, very typical "swing" or "bebop" (listen to Barney Kessel records with Charlie Parker) If you push a little gain, we gets a nice crunch sound reminiscent giving quite the sound of the Gibson ES300 saturated in bebop recordings of Django Reinhardt.
P90 on the bridge: the sound is obviously a little more "sour" with the P90 of the handle. Beautiful sounds are learned for the blues to rock a little vintage and probably the rockabily (but not loving at all like this, I may not be very well placed to speak)
With one volume knob and one tone knob, the possibilities of mixing of the two microphones are obviously less extensive than those guitars with a volume control and a tone micro. And as the <Kingpin I, le knob de tonalité gagnerait à être un peu plus progressif. Mais, je m'y suis bien fait. Quand on directement a un bon son sur chaque micro (et c'est le cas ici !), je crois qu'on ne ressent pas le besoin de se casser la tête à chercher au millième de millimètre le bon mixage ! Et puis souvent, sur scène, on a besoin que ça joue sans trop chercher à peaufiner !
I am careful about what I say in the next few lines. With these strings (JS111), my amp and considering my style of play, I found that the Kingpin II behaves well with effects pedals and overdrive the amp. However, this guitar does not seem suitable for "big sound." But I remain cautious because I'm not used to using this kind of sounds: first because of my game, and then because I have a Mustang Floor which, in the field of "big sound" does not seem famous . On the other hand (still caution on my part ...) the "big sound" seems to require the guitar long sustain natural, it has not, like other hollowbody. However, a compromise can probably be found by a judicious choice of strings.
Failure of the guitar (seems inherent Does all P90 "classic"): 1) the feedback comes quickly to medium or high volume, 2) the microphone is very sensitive to magnetic fields and the amp it hums quite easily - to avoid these snoring just find ideal orientation and distance relative to the amp.
In ACOUSTIC mounted with bolts 11 threaded flat action set as close as possible to the button, it does not obviously planned as an acoustic guitar. But the sound does not seem unpleasant. Its true aficionados of true acoustic guitar could, I think, not be totally satisfied. But this guitar is not, in any case made for it.
OVERALL OPINION
I have this Kingpin II for almost 8 months. I made the purchase on a heart stroke, after being excited by the Kingpin I searching for a wider sonic palette. And I do not regret this purchase. I'm still as much fun playing it and I think I will not tire of its sound.
For those who want a guitar that sails well between jazz, jazz-rock, rock a little vintage, blues, pop music "classic", this Kingpin II seems to be a very good choice! And those who wear it on stage will enjoy its ease: it plays on! it is fine tuned and is very light to wear.