Godin Multiac Jazz

2002 model, flame maple (gorgeous, just gorgeous). Ebony fretboard (22 frets) with an almost flat curve. The neck feels like a cross between an acoustic and an electric with a solid feel to it.

Piezo and hexaphonic pickups at the bridge and a neck pickup. The electronics are pretty sophisticated so that you can use it with just humbucker or mix the piezo and humbucker, or run them to two different amps and mix them that way. It has a 13-pin GK plug for Roland GK products. I run it through a GR-09 and a VGA-3 amp so that I can play almost any instrument on the planet and use the unit as a midi trigger for even more options.

The workmanship is phenomenal, not a stray splinter anywhere to be found. the tuners are large, solid and exude class (as does the guitar as a whole). It is a thin hollowbody but sounds bigger than it is.

My setup allows this guitar to sound like anything I want but it sounds very pretty on it's own. Clean, it's a dream but add a little overdrive and it can sing like it's heart is breaking. It is not a bad boy but it can occasionally sound like one. I have 2 other godins (an SD and a LGXT) and this feels and sounds like an older, wiser brother of the family. It can be mellow and it can be bright and it can be both at the same time (neat trick that). I have yet to run out of sounds I can get out of this guitar. Indeed, the LGXT I have has a similar variety.

What separates this guitar is the almost heartbreaking fullness of the clean jazz tones. My one dislike is the weight. It is almost as heavy as my LGXT and that is almost as heavy as a Les Paul. Otherwise it is a sweet sound that can be unforgiving if slip up.

A wonderful flame maple top that is perfectly bookmatched. There was not a flaw anywhere (and I looked). I was trying to find the flaw because I was looking for any excuse not to buy it. I couldn't find one.

I haven't had it very long but if it is anything like my LGXT it is a tank and will be with me a long time.

Never had to deal with them directly.

I've been playing 24 years and I play everything from bluesy raunch (or is that raunchy blues) to new age atmospheric electronica (I'm not sure either). I love the way it complements my other godins (the SD for punk, the LGXT for blues/rock, and not the multiac jazz for..well...jazz). If it were stolen I would hunt down the culprit and do things that would make torturers throw up. There are other jazz guitars out there that have a similar sound as the humbucker, feel right and are even cheaper but they don't call to me as this one did. Each of my guitars are named and this one is "Destiny". Now how do you say no to destiny?

I think mine is a 2002 model, but the features are exactly the same as currently listed on Godin's web site (http://www.godinguitars.com/godinjazzp.htm)--a flame maple top, one mini Godin humbucker, and the great RMC electronics/acoustic bridge system. The guitar synth and bridge transducer controls all work very well--once you work out what each control does it's fairly intuitive. For a 'jazz' guitar, it's a very versatile instrument, and that's why I bought it. It gets a 9 because there's no bridge humbucker, but no one guitar is going to do everything for you anyway, as much as we guitarists might wish it so. I'm just happy this guitar does several things well.

With .012 half wound strings, the Multiac Jazz exudes a very nice, warm jazzy tone with the tone rolled back just a bit. It doesn't sound good overdriven, but the clean and semi-clean tones are good. The 'acoustic' output isn't going to fool anyone but just a little bit mixed in (with the slider at 20-25%) via GR-33 does add a little clarity. I agree with the other reviewers that you should use the separate outputs--don't try to mix the humbucker and acoustic in a single output as that mix doesn't sound great. I use the Multiac mostly through a PodXt Pro, which suits it very well with a few custom presets that I use (the main one is a mod of the "Bumpin'" preset with a splash of echo and 'rich chamber' reverb for some Metheny-esque air and some of the Marshall speakers)--you can get it to sing a little. With the right approach you can get a little Benson funk and Metheny singing going, but this has as much to do with how you play as what you play it through. I play this guitar much differently than I do my Strat, and it took me a while to successfully adapt to it (at least to my satisfaction). It doesn't sound exactly like a big box jazzer, but it's close and sounds better than a lot of other jazz guitars that I've played (various George Benson models that did some things well but also had workmanship flaws, didn't stay in tune as well, for example) regardless of their price. I always play it with my GR-33 on, often with a soft pad at about 25% volume so that if I hold a note or chord I get a slight swell. The synth tracking is great--some adjustment was necessary for me to get consistent results but once dialed in all was well.

I give it an 8 because I'm a hard grader--I really like how it sounds, and there's nothing better in this category to compare it to. But if there was a, say, Pat Metheny model that had Godin's RMC system, that might get a 10...

The guitar came well set up--didn't have to adjust the action or anything. Acoustically the pickup rattles sometimes but everything else has been tight. Cosmetically, it's the usual Godin deal: looks beautiful everywhere that you see at first glance. No one in the audience is going to notice the flaws, but when you look at the f-holes and see the uneven finish you realize that Godin cares about the 'big picture' stuff and skimps on those details that don't affect the tone or general visual impact. I'm fine with this--handcrafting all those extra details would drive the price up further without sonic gains.

I've had the guitar for five months with no problems. It feels very solid and I carry it without a backup--if it did go down I'd just use the neck pickup on one of my other guitars for the kind of sound I get from the Godin. It wouldn't be as good though.

I've never dealt with Godin directly, although their web site has a lot of good information on it so they start off good in that regard. Fretmill Music, who I bought this from, were great to deal with.

I got what I call a fair deal for this guitar and I didn't have to wait six months for one to be built at the factory so I'm very happy with my purchase. I should point out that I like Godins (I have a nylon string with synth access and also use a fretless semi-acoustic bass), but that like has been built on positive experiences. I have a bunch of guitars (Strat, Tele, Carvin HT2, Sheraton, 3 acoustics, Steinberger Spirit, etc.), but the Multiac along with my Jeff Beck Strat serves as one of my two primary guitars. The ability to layer synth tones along with a warm jazz tone (and let it rip with hornlike synth lead sounds in place of distorted leads) makes this a versatile and effective instrument for me. I use it mostly on songs that have a jazz foundation, but it's also very good for funky vamps. I never got a chance to play it before it bought it, and almost didn't buy it because I didn't like the Flat Five (which I have played in several stores). But it's a different and better guitar than the Flat Five IMO. I'd buy it again in a heartbeat.

Mine is the lovely flame maple model. I wont bother with what you guys already know.

OK here's something I noticed. The mix output somewhat kills the humbucker tone. Use the dedicated output instead. Flatwound 12s, a clean amp and I'm happy as Larry. Remarkable sustain for a jazzer!
Oh someone said the tone knob was a bit drastic. I see what he/she means but it is still very workable so dont be put off by it.

Setup was spot on. Finish could be better though. Just take a peek through the f holes to see what I mean... a dedicated luthier wouldnt tolerate these to leave the workshop.

I'm afraid I dont have a crystal ball :-) said that, something tells me it's going to be very interesting to watch it age. Be back to this in ten years time. :-)

Just asked for the diagrams 'cos I have an old Korg Z3 synth and would like to match the guitars 13pin connector with the Z3's 24pin one. I'll leave this open for the time being.

Versatility hard to match. Great jazz tones. Finish raises an eyebrow. Mix output kills humbucker tone - use the dedicated jack and you'll go Aaahhh!!!

The features of the Godin multiac jazz are already well described in earlier reviews; it's a beautiful instrument to look and an enjoyable experience to play. The tone is geared toward jazz, obviously, thanks to the lone mini humbucker in the neck position. However, the L.R. Baggs transducer makes it also work well as an acoustic electric. It's RMC hex pickup system is THE best out there for driving a Roland GR synth or VS system, no question. The neck is largish, and reminds me more of an acoustic neck than an electric. It comes from the factory with 'ground round' semi-flat strings 12-56, which seem to work well with this neck. The type string used has a decided impact on how well the RMC hex pickup tracks. Flat wounds probably wouldn't work well in that regard.

I mostly play fingerstyle; easylistening/jazz. The sound of the Godin comes through with flying colors for me. This is my second Godin; I also own an LGX-SA. The multiac jazz is pretty much a dedicated jazz instrument. It also sounds excellent as an acoustic/ electric, provided you play it through a system capable of reproducing acoustic sounds faithfully. I play mine primarily through a Carvin AG100D acoustic amp and it works VERY well in all capacities with the Godin. I only rate it a 9 instead of a 10 due to it's specialized use and, lets face it, it just doesn't sound like the big bodied jazz box with flat wound strings...but it is still a good, useable jazz tone.

The instrument was set up for the Godin strings, (really, D'Addarios half round light jazz set). It came to me with a comfortable action and no detectabe intonation issues. The neck is larger in thickness than many electric guitars I've played; even jazz boxes. It is comfortable however. It reminds me of an acoustic neck. The body is beautiful, a thing to see and appreciate. The controls are solid in thier function, but I notice that the tone control rapidly cuts the treble frequeincies only once you get near the end of the pot's rotation, which I find annoying.

As I've already mentioned, this is my second Godin. I've owned my first one now for about six years with no trouble at all. I've taken good care of it and I'm protective of my equipment. Still, I've gigged with it extensivly with no problems. I have no reason to expect this instrument will fare otherwise. If I though it might fail, I wouldn't have bought a second one!

I've never needed them! I've read that they are pretty helpful though...

I've been playing a long time and I own a ton of good equipment. I've paid my dues and enjoy playing for a living now. I consider the Godin jazz to now be my primary working guitar. It's a pleasure to play.
Is it perfect? No, but what is? I find the neck slightly larger than my want. The tone control doesn't roll off the treble frequencies as smoothly as I'd like. The instrument is slightly on the heavy side to hold and the back isn't as comfortably shaped as the LGX-SA is. On the other hand, it has the 'jazz guitar look.' It sounds good for jazz. Real good...The neck, though on the large side, allows for clean fingering. The fret work is clean and smooth. As with the LGX-SA, the strong point of this guitar is versatility. Three pickup systems. Plus the basic tone from the mini humbucker is just what I like for what I play. It is a great guitar.

Multiac Jazz - 3 voice, Flame maple top w/Cognac finish - gorgeous! Electronics are describe in other reviews. Neck is thick like an old Jazz box and seems to go on forever. Access to the upper register frets is made easy by the tapered cutaway.

The EQ controls for the acoustic pickup are well place, however I'm still having difficulty remembering the order for low/mid/high frequency controls. Still, they are well positioned on the body and offer excellent sound shaping control and voice blending with nearly infinite tonal possibilities.

As an owner of other Jazz archtops guitars, I've come to realize that the Jazz cannot - by virtue of the way it is constructed - sound like my D'Aquisto New Yorker Special. I bought the Jazz because of it's own sound and tonal versatility. I has an excellent Jazz tone.

The acoustic pickup blending capabilities offer many other possiblities as well. Using the acoustic pickup on its own yields a wonderful credible acoustic tone, great for fingerstyle.

Finally the synth access opens up endless possibilities. As I'm new to guitar synths (but not to guitar playing), I'm like a kid in a candy store when it comes to using horn sounds for solos. The tracking is excellent, but needs some adjusting both of play style and touch. This is understood. You have to be more precise with your fingering and picking to achieve flawless tracking.

I'm playng through a Line 6 AxSys2 (mostly fender emulations with the Jazz) and it sound great. I also play straight through a Yamaha EMX68s PA head using the GR33 stereo output. Stereo output is a must to get the full benefit of the Godin + GR33. I haven't even begun to explore all the voice combinations.

If I had to offer one negative it is that there so many sound combinations on the Jazz that it is a challenge to reproduce the exact same settings everytime I play - but I'm working on this.

The guitar setup was perfect right from the store. The Jazz has a "Jazz box" neck feel - so you have a little heavier string (.053, 012) and tighter action. At first it felt a little too stiff, but I'm adapting to with no problem. It feels very comfortable to me.

The fit and finish is flawless.

The Jazz has a beautiful stunning appearance. I cannot find one thing out of place on this guitar. The classical style tuning pegs are of high quality and appear a bit tight, but maintains tuning.

The guitar looks to be extremely well built. The heavyness of the instrument gives you the thought it is "solidly" built. Time will tell how reliable it is.

Customer support has not been necessary, either from the Godin or the store that I purchased it from.

I've been playing for over 30 years. In addition to the Godin, I own a D'Aquisto New Yorker Special, Fender Lone Star Strat, Taylor 814CE, Artisano Classical guitar.

If the guitar were stolen I would buy it again.

I love the tonal range of the instrument. It is a wonderful jazz guitar and more. There is nothing to dislike - maybe it's a bit pricey, but you get what you pay for.

The synth access is probably my favorite feature, only because it so new to me and I'm enjoying it so much. The jazz can produce dark tones which I like for playing traditional jazz. I chose this guitar because it sounds and looks great. You can crank up the volume all you want - with no feedback!

If you are looking for great looking jazz guitar with all sorts of additional tonal versatility and with synth access, there is nothing out there that compares to this in this price range. Every time I play it, I feel that I've made a good choice selecting this instrument.

This guitar is a pretty sub-standard intrument. Nothing I get too excited about. I bought it for professional reasons only. If someone steals it, I wouldn't get too upset.

The sound of this intrument, (I use that term lightly), is pretty non-descript. It's got some bells and whistles but it's still in my opinion a sub-standard intrument.

The truss rod is atrocious. The adjustment wrench they gave to adjust it will not fit snugly enough to adjust it properly. I am in the process of finding a machinest to make a proper size one for me. With the aid of a small round mirror attached to a rod, the inside construction can be viewed. Needless to say, it's a horror show in there. Huge gobs of glue all over the place and many uneven edges. This guitar looks like it was put together by an adolecent.
The finish looks OK but then again, even the most poorest of luthiers can make something shiny to some degree.

I just have this guitar till I can get a real one with Synth capacity. This guitar will most definatly be trash in 5 years.

The company is not very helpfull at all. You can't call the Berlin NH factory and speak directly with anyone who's involved with the actual hands on construction and trying to call Rober Godin is like trying to call the Pope. This company seems to thrive upon getting people to purchase they're products and then shut them up as soon as possibile if the customer has any questions that might go against the grain of they're standard of mediocre products.

I've been activly playing since I was 9.Studying since I was 17. I'm 45 and I still haven't been able to get it completly. But I have been playing long enough to know better.
I just wish that the company would have taken the time to produce this instrument and not tried to cut corner on corner on corner in it's construction. It has a real potential to be a good instument.
I wish I had a mirror to look inside this thing before I bought it. The top is a big clumsey piece of wood and the back and sides look like a varnished piece if scaffolding plank from Home Depot.
I bought it because I was told that after having waited for one for 5 months, the one they sent me first had a big knot in the neck. Needless to say I sent that one back and was pretty much told that the second one would be it unless I wanted to wait another 6-12 months for a replacement. Needless to say I just wanted to get the whole thing over with and be done with the Godin sales force energy. So,I'm stuck with it for now. I'll deal with it the best I can.

Semi Hollow, Maple top, 22 Frets, humbucker in the neck position, Piezo in the bridge along with a synth pick-up. A ton of versatility in a classic looking package. 3 outputs (13 pin, humbucker alone, piezo/humbucker blend). The synth and piezo pickups are controlled by faders in the upper bout. There is also an onboard EQ for the piezo as well as a pair of small buttons that allow you to move up and down through synth patches right from the guitar. Way cool. Excellent finish. The strap pins do not have enough of a gap to accomodate a decent strap, and they are rather small in diameter. I definately worried about the strap slipping off. Needless to say I replaced them with a better set of pins.

I was looking for a jazz guitar. I had tried the D'angelico reissue, as well as Gibson, Epiphone, Heritage and Hofner. For the money this blows them away. You can get a classic jazz tone plus you can blend in the acoustic tones of the piezo. I also hook up to a Roland GR-33 and you can blend that in too. I play in a funk/pop band that is on the jazzier side and the guitar sounds great in that context too. It is a very full sounding guitar with a surprising amount of sustain. I've had the guitar for about 8 weeks now, and can't put it down.

The guitar has a beautiful finish although it is a little more glossy than I'd like. The action was a bit high. I like a high action, but this was too high. Also, the humbucker was a bit boomy on the bass side. I brought it back to store after a few weeks of play to have some adjustments made, and it now plays and sounds great. I am using flat wound 11's on this guitar which are heavier than what I usually play. I'm surprised at how easy it is play. The neck is comfortable and fast.

This is a well build guitar, and I have no doubt it will hold up. The only thing I'm worried about is banging it into something and nicking it up. I mentioned the strap pins earlier. I'd replace them with something more substantial. They'll carry the weight of the guitar, but I'd be concerned about the strap slipping off.

They respond quickly. The guitar comes with a hardshell case. I contacted them to see if they had any recommendations for a quality gig bag that would fit the guitar. While they did not, they were nice about it.

I have been playing for 24 years. I also have a Parker Fly Deluxe, A Les Paul Standard and an Ovation acoustic. I sold a modified '72 Fender Tele to get this guitar. Outside of the minor set up issues and the strap pins this is an incredible jazz guitar for the money. While it is a very flexible instrument, it is voiced for jazz. You're not going to rock out on it. I was looking specifically for great jazz tone and this has it in spades. If lost or stolen, I'd definitely buy it again.

This guitar is just beautiful! I have the lightburst one since a couple of weeks and I am already in love with the design. It is a mix of tradition and originality. Regarding the design of the guitar, I strongly reccomend you to visit the site of Godin at www.godinguitars.com which will give you all the feature of the Multiac Jazz SA. On the English site (I am mentioning it because you have as well the French one) you will be able to download the Owner's manual which goes even beyond the normal features listing.

With the design, I think the sound is the main strength of this instrument. The Humbucker played directly through a lamp amp sounds incredibly warm, if you like this kind of sound you will not be disapointed. The tranducers are themselves sounding as well very well but and add a new dimension to the guitar as you can mix them with the humbucker if you use the mix output. It is controlled with a cursor which let you really mix both very precisely. I wish the cursor had some kind of marks in order to be able to find without trying too long your favorite set up. When you are using the mix output it goes thtough the preamp and the volume poti of the humbucker controls the sound of this preamp. On my guitar, the signal is for me a bit too strong right from the beginning. I would have rather have it a bit more gradual. Anyway, I put a 10 because the Humbucker is just amazing and overall with a bit of adjstment you can get the sound you have always wished to have.

The guitar has been pretty well adjusted from the factory. I have a small vibration on one string which would require some adjustment and one string is not tuned anymore on the 12th fret. So, a fine tuning will be necessary. As written above, I think that with the poti controling Humbucker and tranducers together, it gives too much power too soon and this should be as well adjusted for my taste. Regarding, flaws, get out of here, there is no flaw in the finish and the action of the guitar is just fantastic. I put an 8 for the small set-up problems.

Well do not smash any amp with it and I think this guitar will give anybody some very good time during years. Is there still any musicians who are mistreating their instrument? When you buy such a guitar I do not think you are one of these D...time will tell!

I sent an email to GOdin regarding the small vibration and got straight away an answer. They could not help me as they have to see the guitar, but at least they answered which is pretty uncommon so I give the maximum points.

I have been playing for 20 years and I own 2 other guitars, a Strat am and a Delrey Jazz. I tried quiet a lot of instruments in the past but this one is from far the best one I tried, because it is traditional and modern at the same time. I want now to buy a VG88 in order to use it fully with the 13 pin output and see what the beast can put out. Don't even think about stealing this guitar, I would find you. If you like Jazz and want to be able to create some new sounds and be polyvalent that a guitar for you. The value for money is as well very HIGH. Gibson and all those brands should look at Godin closely I would not be surprised to see more and more people playint their guitars

Made 2002, "crafted in Quebec, Canada and assembled by hand in New Hampshire." Semi-hollow jazz style single cutaway with f-holtes. AAA grade solid Spruce top, Silverleaf Maple center with Poplar wings, Silverleaf Maple neck with Ebony fingerboard. 25.5" scale neck, 1 11/16" nut width with a 16" fingerboard radius. Single neck pickup (Godin GJN1 mini humbucking) and custom RMC electronics with 13-pin connector, to give electric jazz, acoustic electric, and synthesizer outputs, one at a time or any 2 and 3 sound combinations. Control knobs for master volume and magnetic tone, as well as sliders for magnetic/piezo mix, 3-band equalizer for piezo, and synth volume. Through 3 output jacks, can send magnetic and piezo to single source or to two amps (electric and acoustic), and to Roland compatible guitar synth or VG series unit. Classical guitar style tuners and through-the-body design bridge. Hardshell case included.

For jazz sounds it comes pretty darn close to a full size hollow body jazz box. Overdriving it gives it a nice, warm, smooth distortion good for slow blues and rock ballads. What was a surprise was that it gives a great, clear, full and warm acoustic tones with great definition. I use it as an acoustic/eletric in a church worship setting, and I always get very positive feedback on how great it sounds. And of course, with the GK type output, you can layer in strings or organ sound along with the guitar sounds.

Came with half-round set of 12s -- great string choice for jazz.

Action is very good for a jazz guitar -- much like an acoustic. Everything was setup great from the factory and the local music store. Fit and finish is excellent, as it usually is with a Godin (my third Godin guitar). Excellent qualtiy Spruce top. Some black mark/scratches on the classy looking flat gold finish knobs, along with very small imperfections along the side of the fingerboard -- but very minor, and not noticeable probably except to me.

Built solidly, and I anticipate to problems with its intended use. With proper care, maintenance, and love, should give many years of enjoyment. I've used it in church settings with no backup, and will continue to do so.

I have not had to deal with Godin for this guitar, but did so for the LGX-SA that I used to own. It was one of the first generation models, and had some eletronic problems. I was able to contact Godin through the music dealer and they resolved everything satisfactorily, even though it took a whole month to remedy. But they are not a huge factory, to this probably could not be helped. People were friendly, helpful, and stood by their product. Email questions takes a few days for responses, but they do respond.

I've been playing guitar for 36 years and bass for 3 years. Other gear I currently own include: Tom Anderson Hollow Drop Top, Godin ACS, Alvarez-Yairi DY72 12-Sting; Alvarez-Yairi DY62; Optek Fretlight; Washburn RB2000; Yamaha DG100-212; Trace Elliot Acoustic Cube; Roland GR9; Roland KC-500; Boss GT3.

I love the versatility of the Jazz. Although I bought it to practice jazz, I also use it as an acoustic electric when I lead worship for church. However, it is really not meant for rock -- it probably wouldn't work as the only guitar for rockers.

If it were stolen or lost, I would buy it again

Canadian parts assembled in the U.S. with a flamed maple top, single cutaway, f-holes, a single gold humbucker, and a bridge piezo pickup. Includes synth access via a Roland style 13 pin out. Various configurations of jacks and controls allows the single volume control to control the humbucker only or the humbucker and piezo. The tone control affects the humbucker only. A slider section includes equalizer for the piezo, piezo volume, and synth volume. The e.q. for the piezo has a switch to select the midrange tones affected by the sliders. Step buttons allow synth voice selection. The neck is fat, similar to an acoustic with medium action. The guitar is rather heavy for a hollowbody. It has unusual side mounted tuners usually found on nylon type guitars, but high quality.

Beautiful mellow tone from the humbucker, although not as deep and smokey as a dedicated jazz guitar. The piezo adds a great deal of versatility to the humbucker. I don't miss having a bridge pickup. Really nice for jazz, fingerpicking, strumming, etc. I wouldn't suggest this guitar for heavy rock. It can cut it for blues, although I don't think a blues player would select this guitar. The synth access opens up a whole different world. It has superb guitar synth tracking, the best I've ever experienced.

Set-up was just ok. To my eyes it needs a bit of a truss rod adjustment. It came with medium strings and medium action. I like really low action, and that doesn't seem to be Godin's thing. If you're used to "fretless wonders" like good Gibsons, this will seem a little high to you. Both the volume and tone controls scrape slightly on the body when rotated. The finish is thick and glossy, and seems to be even throughout. The maple top is very pretty, and I like the look of the whole guitar.

It appears to be very well constructed. For a hollow guitar, it has some serious beef to it. It includes active electronics, so it has to be treated with respect. The synth access plug is vulnerable to breaking if you are careless. Synth guitars are specialty items that shouldn't be treated the same as bar-gig beaters.

I have not had any recent dealings with Godin, so I have no comment.

I have owned many, many guitars. I am into synths in a big way, but have guitar chops. This guitar tracks good enough to do most of what I want from a synth (although no guitar synth is very good at sequencing). The humbucker is very rich and pleasing sounding, which is what I wanted. Godin guitars are a little eccentric to me compared to others, but I like them. Even though the neck is not designed for blistering speed, it feels good. This guitar "sings", and feels very musical, at least to me. So, I have to give it an enthusiastic thumbs up.