Godin Exit 22

The majorfeatures have been covered in previous reviews, so I won't reiterate them here.
Made in 2004, I bought this Exit 22 second-hand. It's the rosewood fingerboard version. Mahogany body is heavy - more than some Gibson Les Pauls. It has minimal varnishing which is not high-gloss but looks very nice. The carved top edge of the back is comfortable, compared to a Les Paul.

I play blues, jazz and Christian worship music using Peavey Classic 30 and Fender Deluxe 112 (solid-state) amps. Overall the sound is surprising bright given the mahogany body. But it's easy to smooth things down by rolling the tone control back. The two single-coil pick-ups sound excellent either clean or driven. They are not overly noisy. As for the humbucker, with the tone control rolled off a bit, you can get great blues sounds with a bit of gain on the amp, and with serious amounts of overdrive it sounds great. Most of all I like the versatility of sounds. It can do Fender-style sounds as well as humbucking overdrive Gibson style.

The previous owner had this guitar set-up professionally, but the action is excellent - not too low or too high. The quality of finish on the Exit 22 is excellent. In my opinion it's far better than any Les Paul studio I've seen or played. It's hard to fault the finish. The tuners aren't the best though - fiddly to use. The other hardware looks good and does a good job too. Through-the-body stringing is an excellent idea.

The guitar is pretty solid and looks like it would stand up to regular gigging. With it's maple neck I'd be less in fear of a headstock crack than with a LP. I certainly feel confident to use it for gigs without backup. Might change the tuners eventually.

No dealings with Godin so far and not likely to, since bought second-hand.

I've been playing guitar for more than 20 years. I've had Tele's, strats and a Gibson Les Paul studio.
I would buy another is it got stolen. It's an excellent guitar that is extremely good value second-hand or new.
I like the ability to switch from Fender-ish tones to Gibson-ish. Not many guitars can do this.
I tried out Cort Z42 and some Yamahas.

I bought a new 2008 Exit 22 from Music Go Round. As the features have been well documented, I will not go into all of the specifics. The only real option is fingerboard and mine has a rosewood fingerboard.

I have been playing my son's HSS Strat which has an alder body and maple fingerboard. This Exit 22's mahogany body and rosewood fingerboard give it a similar sound but with more warmth and depth than the HSS Strat. The single coils are very quiet. The added warmth gives me just the sound that I want from positions 1, 2 and 3.
Here are the only two complaints that I have about this guitar. First the humbucker is a little weak sounding. Second, the humbucker cannot be split. I know that it has been said in other reviews but Godin missed the opportunity to give this guitar a greater range of sound.

I am considering replacing the wiring harness and the humbucker. The humbucker needs a little higher output and needs to be wired for coil splitting.

I would replace both of the 250K pots with 250K push/pull pots. The volume pot's push/pull would dump the neck pickup into the switch's output and allow me to use the neck pickup in positions 3, 4 and 5. The tone pot's push/pull would allow me to shunt one of the humbucker's coils to ground and allow it to run in it a single coil configuration. The control cavity looks like it is just deep enough to fit a push/pull pot. While I am at it, I will probably replace the sterile sounding ceramic disk type capacitor with an oil in paper cap.

The action, fit and finish were all just fabulous. The height of the action was perfect and the radius of the bridge matched the fingerboard exactly. The only adjustment that I had to make was to set the height of the pickups.

I have not had this guitar long, so it is difficult for me to judge how durable it will be. I can say that it is well fitted and finished and it is built like a tank.

I have not had any dealings with customer support. Their website, however, is sorely lacking. The manual is a joke even for a guitar player. If you need any technical information, it is just not there. I have had to e-mail Godin for the info that I need.

Looking for trouble with my wife, as usual, I was just poking around Music Go Round looking at second hand guitars and whatever overstock items that they had on hand when I spotted the Exit 22. They plugged it into a Fender Deluxe amp and I immediately fell in love with both the feel and sound of this guitar.

Using my Blackberry, I looked up the price on several websites. Music Go Round's $350 price on this brand new Exit 22 blew away the $500 prices that I found and Musician's Friend and others.

I just knew that this guitar would have to come with a marriage counselor (I suffer from GAS), but my wife seemed to like the guitar even more that I did. She asked the employee if the guitar should be on the 20% discount rack. He looked at her as if she were crazy (no comment from me at this point) and explained that the guitar was already substantially marked down.

She pressed him for any available discounts and he said that if we signed up for their e-mail newsletter, we could get a 15% discount on our first purchase. We signed up and he sold the guitar to me for $298.

Here is a list of the guitars that my son and I currently share (guess who paid for all of them):
Custom rebuilt Ibanez AF75 hollow body w/Phat Cat P90 SC pickups and Mojo ES-335 wiring harness
Custom rebuilt Ibanez AS73 semi-hollow body w/SH-2 and SH-4 HB pickups and Mojo custom push/pull wiring harness for coil splitting
Custom rebuilt Fender Deluxe Stratocaster HSS w/Tex-Mex SC and TB-11 HB pickups and Mojo Strat Blender wiring harness
Gibson Les Paul Studio
Peavey Horizon II
Gibson Flying V Faded Cherry
Taylor 110 Acoustic
Simon and Patrick Woodland 12 Cedar Acoustic

Godin makes its parts in Canada and does assembly in the US. 22 frets, 2-piece mahogany body, maple neck (and fretboard, in my case). 1 tone pot, 1 volume, 5-way switch, SSH pickup configuration. The pickups are Godin-branded. I've heard they're made to spec by Seymour Duncan, but I don't know if that's true. The finish is a semi-gloss polyurethane--it has not scratched at all in about four months of use. The body is basically Tele-style, but with a Strat-like contoured back. The bridge is a 6-saddle string-through hardtail. Unbranded non-locking tuners. The frets are medium jumbo, tall enough to have notes go sharp if you apply too much pressure. 24.75" scale, 12" radius, and stock .09s, so you can do some hellacious bends on this thing. Included gig bag is very nice. There aren't a lot of "extra" features on this guitar (e.g. coil-splitting for the humbucker), but it covers all the basics. Strap buttons are made for Schaller locks--nice touch.

I play mostly blues and blues-rock. The Godin is running straight into a Fender Blues Junior most of the time. Easy to overdrive the amp, even with the single coils. I like a brighter sound, hence the maple fretboard and I play the single coils much more than the humbucker. The mahogany body does give a fuller sound than you'd get from something like a telecaster. The neck pickup is very full-bodied and "sings." It's my favorite. Great for lead tone, clean or distorted. The 2nd position is nice for rhythm. With the tone all the way up the 2nd position is too clean and bell-like for me, but if you dial down the tone you can get anything from a Freddie Green sound to a dirtier tone if you crank the overdrive on the amp. The 3rd position (middle pickup) sounds a lot like a Tele, with "cluck/twang" in the sound. The tone is more focused/percussive but sustains less than the neck pickup. Can't speak very much to position 4, as I haven't used it much. The humbucker is probably the weak point of this guitar. It's very trebly unless you roll back the tone and the sound just doesn't grab me. You can't get very close to a Les Paul sound. Some people compare the Exit 22 to a LP because of the mahogany body and single cutaway, but I just don't see it. Maybe with a rosewood fretboard? With the maple fretboard, mine has much more of a Strat/Tele sound. It's probably closest to a Tele. I can almost wring the Albert Collins sound out of this thing at times. Oh, I should mention the single-coils are pretty quiet even with the gain cranked.

The factory action was too low for me. Neck was almost straight, leading to some fret buzz. The pickups were adjusted close to perfectly. Consistent volume across all switch positions. The neck pocket is extremely tight and the resulting sustain is great. The bridge, tuners, knobs all feel solid. I know in the past people had trouble with the pots, but I haven't so far. Maybe Godin fixed that issue. Lately I've noticed a tiny bit of noise in the selector switch, but it's not there all the time. The two body pieces are not especially well-matched on mine, but looks are pretty far down the list of things I value in a guitar. Overall I like the natural wood look of the Exit 22 and the black hardware avoids drawing attention away from the grain.

I don't perform in public, so I can't speak to those issues. It seems solidly built (pretty heavy compared to a strat) and I haven't been able to hurt the finish so far. The strap locks remove one potential source of worry.

I emailed two questions and got prompt, helpful responses. Not sure about the warranty.

I've been playing for about ten years on a junky Squier strat. I bought the Godin when I decided to get more serious about practicing. While I don't own any other guitars, I've played a friend's MIM strat, a USA strat, and a USA tele. If it were stolen I would probably get another one, but I would be tempted to get a G&L Legacy or ASAT.

My favorite part is the sound of the single-coil pickups and the comfortable neck/fretboard. The humbucker is pretty weak sauce.

I also considered a Yamaha Pacifica or a MIM Strat, but I think the Godin is significantly better than both. The finish is excellent and the Exit 22 delivers a variety of good sounds. You can tell Godin spent cash on good pickups and woods, not goofy finishes or advertising. (I think John McLaughlin is their only prominent endorser.)

This guitar features a solid, string-through mahogany body with 22 frets, h-s-s pickup config, six-on-a-side tuners, five-way pu selector, tone and volume knobs, fixed bridge, 24 3/4" scale length. It has Godin brand pickups.

I will plainly state that this guitar sounds great. I have had it for about eight months now and I really do go back to it frequently. I don't yet own a strat so this fills in nicely. The body style, as has been noted, is sort of a cross between a Les Paul and a Telecaster, which I love. It's just a very smooth guitar. It really isn't a metal guitar, but then again there are lots of pointy-looking, physically dangerous guitars out there. I play straight-up rock with this thing, and it very much delivers. I play this through a Tech 21 Trademark 60, and a Behringer GMX 110, and through both amps it just sings. The versatility of this thing is where it earns its points. You can get that notch position Strat bell/quack sound, or you can roll the tone pot back in the humbucker position and get a reasonable Les Paul imitation. Also, in the humbucker/middle position, it sound very similar to the middle position on a good Tele. Again, very versatile. Buy it just for this, trust me. Pickups are surprisingly good, very meaty with not much noise. The only downside to the pickup scenario is the inability to coil-split the 'bucker. If this were a stock option, there would be no stopping this guitar. I may upgrade to a standard four wire humbucker just to get this option. Really though, I can't say how cool this guitar is.

I bought this guitar used, so I can't say what the factory setup was like, but the previous owner obviously had this guitar set up by a tech, or was very good at tech stuff because I really haven't touched the truss rod or the intonation. Everything is about where it should be. I have noticed that the string alignment over the humbucker is a little off, but the magnetic field is big enough to overcome this small flaw. Overall, the biggest problem I've found with this guitar are the scratchy, low quality pots. It's really no big deal to fix, I think it cost me about $20 and about 20 minutes with the soldering iron to fix, but it's strange how the rest of the guitar is so sweet, and then these pots.... Anyway like I said it's not a huge problem, just take the time to fix it and you won't be sorry. Everything else is top-notch.

This guitar is very solidly built and will withstand every normal amount of abuse. The hardware is solid. Came with strap locks, which I gather is a standard feature. Pretty neat. I often do gig this guitar without a backup, stupid yeah I know, but really it is solid.

I have been playing for 15 years. I have five electrics, as follows:
Godin Exit 22, Fender Nashville Deluxe Telecaster, Westone Spectrum SX, a Partscaster, and a Carlson Tele-clone. I have the two amps previously mentioned, and a couple acoustics. I really love this guitar, no false glowing review here, just a freaking solid rock and roll guitar. Really, buy this guitar if you have the chance.

Solid multi-piece mahogony body that looks like it has just a thin veneer of varnish. Rosewood bolt-on neck. Dunno when it was manufactured, but I understand that the parts are generated in Canada and the assembly performed in the US - in which case Godin have made a nonsence of all those firms who have offshored to China and stupidly handed their technology over. If Godin can make a guitar of this quality at this (when new) price on the North American continent, then the other guys must be doing something daft.

Mine is second-hand. The shop had a brand new model at a ??100 more but I couldn't see the point - other than a slight scratch at the top of the headstock, mine seemed in perfect nick. Even better the shop gave me a gorgeous Godin gigbag, though I'm sure it was supposed to be for a new guitar (!)

Whoever owned this example had taken good care of it. It was strung with 9-42's (yak!) though, so I had the nut altered and stuck 10-46's on it - much better!

The rest of the guitar is as described by others - Godin HSS pickup config.

I was looking for a guitar that would do as a knockaround workhorse - that would through knocks, getting dropped etc. A few years ago I'd evaluated an Exit 22, but wasn't so sure of the neck profile - so in the end I'd ended up with a Pacifica 412V. However I was starting to find the 412 a bit limited pickup-wise, and I was sick to death of repairing the pot on the volume (some kind of fundamental wiring snag here.) The pickups too were a bit limiting for the nature of what I play now.

So I looked again at the Exit 22.

I love clean and overdriven tones - not much distortion! I play in a "progressive" style, so amongst my own stuff I like Hackett, Gilmour, Oldfield, Steve Howe, but also Mike McCready, Santana, SRV - so any setup has to cover a wide range.

The first thing to note is the nature of Godins single-coil pickups - no hum! And they are darn powerful - certainly as powerful as the Duncan-designed humbuckers on my JJ Retro (aka the best electric guitar in the world.)

Although others refer to the Strat-like nature of the Exit 22, I think it shares more affinity with a Tele. As you proceed down the pickups the tone becomes increasingly dirtier, and although I don't use the bridge HB pickup all that much, it plays fine. Best of all their seems to be no noticable volume drop when you switch from a single-coil to the HB.

Looks-wise, the Exit 22 is a weird affair - Les Paul single-cut with a Fender style neck, though short scale. Sound-wise to me its a mix of singcoil Tele mixed in with a HB Tele and...what? I dunno, a bit SG, a bit LP. I dunno, but its virtually impossible to get a bad tone from it.

Plugged-in clean to my (rather modified) Classic 30, with a decent cable, the middle pickup position (2 & 3) provide a fine, already compressed tone, spot on for blues or an overdriven solo. There's a twang in there that is decidedly Tele-like.

Another feature is the immense sustain available - thanks to the through-body stringing - and having no wobble-bar. For bolt-on the suptain is amazing, and it makes it easy to find the sweet spot for feedback when you have time to rock back and forth before the note decays.

Using a Weber mini-Mass attenuator, with the Classic equipped with a NOS Tesla (1970's) ECC81 in V1, and Mullard NOS ECC83's in v2 & 3, plus 4 x NOS Tesla EL84's then position 3 yields a blues tone, with some compression from the Weber that is indescribably good. I can't replicate it without the Weber (say winding the amp up and using a compressor pedal) and none of my guitars get near (though the JJ has the "JJ Love Tone" that is hard to stay away from.) For that alone the Exit 22 is near-perfect, but in reality the number of tones it can cover - from rock to blues to jazz and even country (as if) is unique.

As well as the Classic 30, the guitar is plugged into a Blues Junior and a Cornell Harlequin. Bizarrely it sounds best from the Peavey, but I think that's my personal taste (and I don't use the Weber for anything else.) I have two setups - one with a Zoom G7 and the other through a volume pedal, Dunlop Wah and an old Pearl OD-5 overdrive. The analogue setup works really well - the Zoom compromised of course because it is a digital multi-F/X - though probably the most responsive around. The Weber sucks some of the treble out of it, but for my tones that's preferable.
So I looked again at the Exit 22.

As mentioned - whoever owned this example had taken good care of it. The string height and intonation were perfect.

The body is made up of 3 or 4 bits of wood, but I can't distinquish the join. Being mahogony its heavy - though slightly lighter than my maple/mahogony JJ.

There is one "feature" I'm still not liking - upper fret access, beyond fret 19 isn't brilliant, simply because of the design of the heel. I'm used to my JJ (and the 412V) where access to anchor your stringing thumb/palm even for fret 20-22, even for the low E-string is a doddle. The Exit 22 isn't so good for that - I have wide hands and long fingers so I can do it - but it ain't as comfortable as my other guitars.

The tuners are fine - the smart knurled volume/tone knobs are well...classy - I use the volume pot quite a bit, as well as a volume pedal, and I haven't hit the pot problem others have reported (though the previous owner might have addressed this.)

Built like a tank and cheap enough to ensure I won't cry it it gets dented or dropped. Strap locks are a neat touch. There is no pick guard but this is a real workhorse guitar - despite the price it isn't a beginner axe (the weight will put any teenager off) indeed the quality of the finish would match a ??1000/$2000 guitar - this is mass-manufacturing with hand-built quality.

In the future it will probably get a Roland pickup (rather than get an LGX) although I am tempted to gut a Variax and ask Chris George to retrofit it as a Godin/Variax hybrid (now that would be weird!)

Despite the solid build I would always have a 2nd guitar with me for gigging.

Purchased from North West Englands premier Godin dealership - so I don't expect to have to deal with Godin direct. However being 2nd-hand its out of Godin warranty. A brand new Exit 22 was an extra ??100 (??349) in the shop.

It's a wonderful guitar - just missing, as others have mentioned, the coil tap on the bridge humbucker. Although Godin have tried to save on the looks - the combined slab of mahogony is pretty darn attractive, and I'm lucky to have one that looks like a single piece. It's a tough guitar too.

If it was stolen I would definately purchase another one (again probably second-hand, but I'd buy new if there wasn't a decent example about.)

Even the new price is extraordinary value - ??349, which is what, $690? At that price you expect to find just a mid-range 2nd guitar or expensive starter guitar - but the Exit 22 is a full-blown "proper" stage and studio guitar, albeit mass-produced, but to a standard you expect from Custom shops. Certainly the quality of the build, finish, pickups, tuners and bridge match anything that the likes of Fender (even its Custom Shop) are capable of - and the things not made in China/Thailand/Indonesia/North Korea/Iran or Burma (or wherever western guitar manufacturers have decided to offshore their production/hand their technology to this week.)

Solid multi-piece mahogony body that looks like it has just a thin veneer of varnish. Rosewood bolt-on neck. Dunno when it was manufactured, but I understand that the parts are generated in Canada and the assembly performed in the US - in which case Godin have made a nonsence of all those firms who have offshored to China and stupidly handed their technology over. If Godin can make a guitar of this quality at this (when new) price on the North American continent, then the other guys must be doing something daft.

Mine is second-hand. The shop had a brand new model at a ??100 more but I couldn't see the point - other than a slight scratch at the top of the headstock, mine seemed in perfect nick. Even better the shop gave me a gorgeous Godin gigbag, though I'm sure it was supposed to be for a new guitar (!)

Whoever owned this example had taken good care of it. It was strung with 9-42's (yak!) though, so I had the nut altered and stuck 10-46's on it - much better!

The rest of the guitar is as described by others - Godin HSS pickup config.

I was looking for a guitar that would do as a knockaround workhorse - that would through knocks, getting dropped etc. A few years ago I'd evaluated an Exit 22, but wasn't so sure of the neck profile - so in the end I'd ended up with a Pacifica 412V. However I was starting to find the 412 a bit limited pickup-wise, and I was sick to death of repairing the pot on the volume (some kind of fundamental wiring snag here.) The pickups too were a bit limiting for the nature of what I play now.

So I looked again at the Exit 22.

I love clean and overdriven tones - not much distortion! I play in a "progressive" style, so amongst my own stuff I like Hackett, Gilmour, Oldfield, Steve Howe, but also Mike McCready, Santana, SRV - so any setup has to cover a wide range.

The first thing to note is the nature of Godins single-coil pickups - no hum! And they are darn powerful - certainly as powerful as the Duncan-designed humbuckers on my JJ Retro (aka the best electric guitar in the world.)

Although others refer to the Strat-like nature of the Exit 22, I think it shares more affinity with a Tele. As you proceed down the pickups the tone becomes increasingly dirtier, and although I don't use the bridge HB pickup all that much, it plays fine. Best of all their seems to be no noticable volume drop when you switch from a single-coil to the HB.

Looks-wise, the Exit 22 is a weird affair - Les Paul single-cut with a Fender style neck, though short scale. Sound-wise to me its a mix of singcoil Tele mixed in with a HB Tele and...what? I dunno, a bit SG, a bit LP. I dunno, but its virtually impossible to get a bad tone from it.

Plugged-in clean to my (rather modified) Classic 30, with a decent cable, the middle pickup position (2 & 3) provide a fine, already compressed tone, spot on for blues or an overdriven solo. There's a twang in there that is decidedly Tele-like.

Another feature is the immense sustain available - thanks to the through-body stringing - and having no wobble-bar. For bolt-on the suptain is amazing, and it makes it easy to find the sweet spot for feedback when you have time to rock back and forth before the note decays.

Using a Weber mini-Mass attenuator, with the Classic equipped with a NOS Tesla (1970's) ECC81 in V1, and Mullard NOS ECC83's in v2 & 3, plus 4 x NOS Tesla EL84's then position 3 yields a blues tone, with some compression from the Weber that is indescribably good. I can't replicate it without the Weber (say winding the amp up and using a compressor pedal) and none of my guitars get near (though the JJ has the "JJ Love Tone" that is hard to stay away from.) For that alone the Exit 22 is near-perfect, but in reality the number of tones it can cover - from rock to blues to jazz and even country (as if) is unique.

As well as the Classic 30, the guitar is plugged into a Blues Junior and a Cornell Harlequin. Bizarrely it sounds best from the Peavey, but I think that's my personal taste (and I don't use the Weber for anything else.) I have two setups - one with a Zoom G7 and the other through a volume pedal, Dunlop Wah and an old Pearl OD-5 overdrive. The analogue setup works really well - the Zoom compromised of course because it is a digital multi-F/X - though probably the most responsive around. The Weber sucks some of the treble out of it, but for my tones that's preferable.

As mentioned - whoever owned this example had taken good care of it. The string height and intonation were perfect.

The body is made up of 3 or 4 bits of wood, but I can't distinquish the join. Being mahogony its heavy - though slightly lighter than my maple/mahogony JJ.

There is one "feature" I'm still not liking - upper fret access, beyond fret 19 isn't brilliant, simply because of the design of the heel. I'm used to my JJ (and the 412V) where access to anchor your stringing thumb/palm even for fret 20-22, even for the low E-string is a doddle. The Exit 22 isn't so good for that - I have wide hands and long fingers so I can do it - but it ain't as comfortable as my other guitars.

The tuners are fine - the smart knurled volume/tone knobs are well...classy - I use the volume pot quite a bit, as well as a volume pedal, and I haven't hit the pot problem others have reported (though the previous owner might have addressed this.)

The finish - a clear varnish or clear nytro-cellulose is spot-on - letting the grain show to ensure every

Built like a tank and cheap enough to ensure I won't cry it it gets dented or dropped. Strap locks are a neat touch. There is no pick guard but this is a real workhorse guitar - despite the price it isn't a beginner axe (the weight will put any teenager off) indeed the quality of the finish would match a ??1000/$2000 guitar - this is mass-manufacturing with hand-built quality.

In the future it will probably get a Roland pickup (rather than get an LGX) although I am tempted to gut a Variax and ask Chris George to retrofit it as a Godin/Variax hybrid (now that would be weird!)

Despite the solid build I would always have a 2nd guitar with me for gigging.

No opinion really - the shop I purchased from is North West Englands premier Godin dealer.

Naturally at ??1 = $1 even though it is well worth the dosh, a US/Canadian-purchased example would be evden more of a bargain. Of course shipping and import tax goes some way to explain the 1:1 currency exchange.

I think like everyone else I'd have loved to see a coil tap on the bridge humbucker. That would have been the absolute icing on the cake.

If it was pinched I would get another (2nd hand if available, just because I like the way older guitars wear in.)

I am too, revising my earlier (2 years ago) review. Bare bones, which I actually prefer.

Sounds great with any kind of music. Very strat-like when using the two single coils, but a little trebly when using the humbucker. Tends to get more bassy as tone is turned down. This is because there is a resistor on the volume pot which causes a broader effect of the tone pot.

Had to have it set-up for 11's. The 9's were a little too much like rubber bands and I couldn't keep then in tune very well. But it was well set-up when I got it

This is where I have the rub. The pots got scratchy right after the warranty was up. Got progressively worse until I had to thump on the pots to get any sound out of it.

The company is very helpful. I asked for a wiring diagram and they e-mailed it right away. Also, asked about replacement pots a few months earlier and once again, the e-mailed me an answer pronto. The resistor was not shown in the diagram, though.

I still think this is quite a wonderful sounding and solidly built guitar. I just think they could spend a little more on the pots.

I bought the Exit 22s from a used guitar place for $325. I was told the guitar was a 2000 or 2001, and for that price it was questionable whether it not it was a quality guitar. After playing it for about a day I learned that it is a quality guitar and more. I like things that stand out & are different. The unpainted mahogony solid body fulfilled my wishes for looks of a guitar fully. Each one looks different because they are unpainted, making each one unique. The cutaway body makes high notes easy on the 22 fret board. The string-through body bridge looks awesome and is very easy to maintain (changing strings, is sturdy, etc.) I got the rosewood fretboard, giving the guitar a cleaner, more acoustic sound. Although it must be wiped with lemon oil once a year, it's worth it for I prefer the rosewood over maple. It comes with an incredibly thick and sturdy Godin gig bag, with plenty of pockets and very cool looking. The 5 way control switch presents a wide variety of sounds given by the two Godin single coil pickups and the Godin Humbucker.

The 5 way pickup switch gives a wide choice of sounds. With the switch in the humbucker selection and some distortion, you can get crunchy hard rock tones you would expect from more expensive guitars. I use a 70's Univox 50 watt amp that this guitar sounds great with. What I really like about this guitar is the fact that it sounds great both in clear, crisp tones, and distorted chords. The Exit 22 excels in all types of sounds, whether you're into rock, jazz, metal, or anything. This guitar delivers.

My guitar contained not one flaw. The parts were hand crafted in Canada and put together in the US, and you can clearly see and hear the quality craftsmanship in this incredibly priced guitar. The guitar looked mint, apart from some small nicks and scratched from the previous owner, being a 5 or 6 year old guitar. Besides that, the guitar's action and fit feels great.

I would use this guitar anywhere and everywhere. Being just a starter at guitar, I haven't yet experienced any live concerts or gigs of my own. However, this guitar is built like a tank. Slightly heavy but comfortable, all the knobs, tuners, pickups, etc. are still entirely in tact and in the original position. The finish on the guitar still looks new. Unless I was to go for higher end guitars, such as a Les Paul above $1000, I would use this guitar no matter what the condition.

Buying the guitar used from a small business, I am not aware of any of it's history. However, I do not feel I will ever have problems with this guitar, therefore a warranty is simply nothing I worry about.

Overall: if you're looking to buy a decent guitar for between $300-$400, don't. Spend the extra money to get this high quality guitar for around 500 I believe. I plan on playing this guitar for years to come. It is an all around versatile, durable, and great sounding/looking guitar. The only feature the guitar lacks is a whammy bar. However, there are other ways to create that sound, such as shaking the neck. Therefore the guitar has all features and qualities you would expect in a much higher priced instrument. Go buy it!

see other reviews for this part... or check out the godin site
www.godinguitars.com
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i've been playing guitar for more then 5 years now. The scores i give aren't personal opinions, because i have only played on a few other guitars

live, we play this funky rock thing whitch seems to work great with the godin exit 22. I play it trough a vox ADT 50, with wah and fuzz.
great sound, exept for the high notes

action is very low, maybe a bit too low..., strings should be thicker
rest is great

I play this guitar for over 2 years now, I had it repaired once
I played plenty of gigs whit it (even dropped it a few times)

he seems to be fine , except he's heavy

no ida

great guitar for his price!
too bad he's so heavy

This guitar makes perfect sense.

I couldn't be more satisfied.

Fits my hand perfectly.

So far so good.

?

I have been playing for 47 years and have owned over 100 guitars.

This baby is a true jewel.